Run: 2026-03-11-01KKFCX6SZGN3QKCBHVKNGX3E3

Run Details

Duration:
47.5s
Cost:
$0.000000
Provider:
Stealth

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 slipped from her grip. Not far, just an inch, but the bourbon sloshed over the rim and bled across the worn oak bar. Aurora Carter swore under her breath and snatched a rag from the sink, dabbing at the spill. The amber liquid soaked into the wood, a familiar stain in a familiar place. The Raven’s Nest didn’t change. It held its breath in the same way every night: the low murmur of hushed deals, the clink of ice in heavy tumblers, the scent of lemon oil and old paper from the maps plastering the walls. Silas Blackwood was polishing a glass at the far end, his hazel eyes missing nothing, his silver signet ring glinting as he turned the cloth. He gave her a barely perceptible nod. A ‘get your head in the game’ nod. She’d been watching the door. A bad habit she’d never shaken, a remnant from another life. Then it swung open, not with the usual cautious push of a regular, but with a decisive sweep that sent a gust of cold night air into the warm, close dark. The woman who stepped in didn’t look like she belonged. She wore a tailored charcoal coat that probably cost more than Rory’s rent, and her blonde hair was cut in a sharp, architectural bob that framed a face Rory knew better than her own. Once. The years had polished Eva Mendes into something gleaming and severe. Her eyes, the same deep brown, scanned the room with an appraiser’s cool efficiency before landing on Rory. They locked. And for a heartbeat, the bar, Silas, the entire world, dissolved into the static roar of a decade crashing back. Eva moved first. She walked towards the bar, her heels clicking a precise rhythm on the floorboards. She didn’t smile. She stopped two stools away, placing a slender, manicured hand on the bar. “You’re hard to find, Laila.” The old name, the safe name from a lifetime ago, hit Rory in the chest. She hadn’t been Laila since she’d fled Cardiff with nothing but a duffel bag and a bruised rib. “Eva.” “Just Eva?” A ghost of the old playful lilt in her voice, but it was hollow, practiced. “After all our adventures with Nana’s sherry and the vicar’s prize-winning roses?” “I’m Rory now.” She wiped the bar again, a pointless, busy motion. “What are you doing here?” Eva glanced down the bar to where Silas was now meticulously lining up wine glasses. “My firm’s handling the property development on Dean Street. The one that’s been all over the papers.” She turned back, her gaze sharp. “This place is on the edge of the demolition zone. I heard the owner was… connected. Thought I’d see for myself.” Of course. Eva didn’t stumble into places. She investigated, assessed, acquired. “You’re not here for nostalgia, then.” “I’m here for business. But finding you…” Eva’s composure flickered. She looked at Rory properly, taking in the black hair, the faded band t-shirt, the small crescent scar on her wrist peeking from under her sleeve. “You look different.” “I work for a living.” The words came out sharper than intended. “Delivering for the Golden Empress. Yu-Fei’s a good boss.” “Delivery.” Eva said the word like it was a curious fossil. “You, who could argue circles around Professor Davies. You were top of the Pre-Law cohort.” “Wasn’t for me.” Rory poured two fingers of bourbon into a clean glass and slid it towards Eva. A peace offering, or a challenge. Eva ignored it. “Running away to London with some girl from the curry house isn’t ‘not for you’, Laila. It’s throwing yourself away.” “Her name was Chloe. And I didn’t run away. I left.” Rory’s voice dropped. “There’s a difference you’d know if you’d answered a single one of my calls.” The accusation hung in the air, thick as cigar smoke. Eva’s jaw tightened. She finally picked up the glass, but didn’t drink. “I was in Geneva. An internship. My parents…” She took a sip, the bourbon clearly not to her taste. “They said you’d made your choice. That you needed to stand on your own.” “And you believed them.” “I believed you’d call back. You never did.” The silence stretched, filled by the distant jukebox playing a mournful, bluesy number. Rory saw it then: the unbridgeable chasm. Eva, clad in her armour of success, navigating boardrooms and black-tie events. Rory, with her calloused hands from bike handles and takeaway containers, navigating the city’s labyrinthine streets. They were speaking different languages now. “You’re Silas Blackwood,” Eva said suddenly, not to Rory, but to the man who had silently approached to wipe down the bar near them. “Formerly of the SIS. Prague, ’98. The incident with the microdot.” Silas paused, his rag stilled. He looked from Eva to Rory, his hazel eyes unreadable. “The official file says that was a training exercise.” “Official files lie. My firm vetted the property. We know who you are.” Eva’s voice was cool, professional. A blade. “Do you now.” Silas’s tone was mild, but his presence expanded, filling the space. The slight limp as he shifted his weight seemed less a weakness and more a settled, dangerous thing. “And what does a property lawyer want with an old barman?” “To know if you’ll be a problem. Or an asset.” Rory watched, a cold dread seeping into her bones. This wasn’t a reunion. It was a reconnaissance mission. Eva hadn’t come to find an old friend. She’d come to scope out a target and had stumbled upon a ghost. “I’m neither,” Silas said. “I’m just a man who serves drinks and minds his own business. A lesson some could learn.” He glanced pointedly at Eva’s expensive coat. “This isn’t your world. Be careful you don’t get lost in it.” He turned and limped away, the silver ring on his hand a flash of warning. Eva let out a slow breath, her professional mask slipping just enough to show a sliver of genuine frustration. “He’s exactly the kind of complication the board warned me about.” “Why are you really here, Eva?” Rory asked, the pieces clicking into a picture she didn’t like. “The demolition notice was posted last week. You didn’t just ‘hear’ about Silas. You’re here to buy him out. Or push him out.” Eva swirled the bourbon, the ice chinking. “It’s a multi-million-pound development, Laila. This block is prime Soho real estate. Some things have to be sacrificed for progress.” “Some things? Like people’s homes? Their livelihoods?” Rory thought of Silas, of the quiet sanctuary he’d built, of the hidden room behind the bookshelf where secrets and souls were kept safe. “This bar is more than bricks and mortar.” “Everything is more than bricks and mortar to those who don’t own them.” Eva’s voice was tired, but hard. “I have a responsibility. To my firm, to the investors. To my own life, which I built from nothing. Something you might understand if you’d ever stuck at anything.” The words were a slap. Rory felt the old heat rise in her cheeks, the anger she’d banked for years. “I stuck at surviving,” she said, her voice low and fierce. “I stuck at putting myself back together after Evan turned my ribs into a xylophone. I stuck at becoming someone who didn’t need to look over her shoulder every minute of every day. Forgive me if that didn’t leave much room for internships in Geneva.” Eva flinched. A real flinch. The corporate armour cracked, and for a second, the sixteen-year-old girl who’d helped Rory ice her bruises after a fall from a tree was there. Vulnerable. Ashamed. “I didn’t know,” she whispered. “Not the details. Your mum said it was bad, but…” “But it was easier to believe I was just being dramatic. Just Laila, making a fuss.” Rory leaned forward, her voice barely audible. “I needed my best friend. And you were a ghost.” The regret was a living thing between them now, breathing in the space where friendship used to be. Eva reached out, her fingers brushing Rory’s hand on the bar. The touch was electric, painful. “I’m sorry,” Eva said, and it sounded ripped from her. “Truly. But this… The development is happening. I can’t stop it. But maybe… maybe I can make sure Silas is taken care of. A fair price. A relocation fund. I have some sway.” It was an olive branch, wrapped in barbed wire. Help from the person who’d failed to help when it mattered most. Before Rory could answer, the door opened again. Not a sweep this time, but a cautious creak. A man in a rumpled suit entered, his eyes darting around until they fixed on Eva. He looked nervous, his thumb worrying the edge of his phone. Eva straightened, her professional mask sliding back into place with a click. She withdrew her hand from Rory’s. “My associate,” she said, her tone flat. “We have a meeting.” She stood, leaving the untouched bourbon on the bar. She looked at Rory, and for a moment, the polished lawyer vanished, leaving only the girl who’d once sworn a blood oath in a treehouse to be friends forever. “Don’t be a stranger, Rory,” she said, using the right name this time. It sounded like an apology, and a final goodbye. She turned and walked towards the nervous man. They exchanged hushed, urgent words near the door. Rory couldn’t hear them, but she saw Eva’s posture change, stiffen. The man handed her a slim manila folder. Eva opened it. Even from across the room, Rory saw the colour drain from her face. Her head snapped up, her eyes wide, not with corporate calculation, but with pure, unadulterated fear. She looked from the folder, to Rory, and then her gaze shot towards the back of the bar, towards the unassuming bookshelf that hid Silas Blackwood’s secrets. The folder trembled in her hand. She’d found something. Something that changed the game entirely. And from the look on her face, it was something that had just put them all in terrible, immediate danger.
created_at"2026-03-11T21:30:08.095Z" 3/11/2026, 9:30:08 PM
model"openrouter/hunter-alpha"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1000
moderation_latency(null)
generation_time47376
tokens_prompt4618
tokens_completion3038
native_tokens_prompt4214
native_tokens_completion2572
native_tokens_completion_images(null)
native_tokens_reasoning414
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
router(null)
provider_responses(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.14.0; linux; x64))"
http_referer(null)
api_type"completions"
id"gen-1773264608-K4R34hgftaPTjcHcFJXc"
upstream_id"gen-1773264608-K4R34hgftaPTjcHcFJXc"
total_cost0
cache_discount(null)
upstream_inference_cost0
provider_name"Stealth"

Evaluation details

Result Evaluator Details Meta Data
84.62% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags20
adverbTagCount3
adverbTags
0"She turned back [back]"
1"Eva said suddenly [suddenly]"
2"He glanced pointedly [pointedly]"
dialogueSentences52
tagDensity0.385
leniency0.769
rawRatio0.15
effectiveRatio0.115
91.09% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1683
totalAiIsmAdverbs3
found
0
adverb"suddenly"
count1
1
adverb"really"
count1
2
adverb"truly"
count1
highlights
0"suddenly"
1"really"
2"truly"
100.00% AI-ism character names
Target: 0 AI-default names (16 tracked, −20% each)
codexExemptions
0"Blackwood"
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
55.44% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1683
totalAiIsms15
found
0
word"familiar"
count2
1
word"glinting"
count1
2
word"gleaming"
count1
3
word"scanned"
count1
4
word"lilt"
count1
5
word"flickered"
count1
6
word"silence"
count1
7
word"navigating"
count2
8
word"unreadable"
count1
9
word"weight"
count1
10
word"sanctuary"
count1
11
word"electric"
count1
12
word"trembled"
count1
highlights
0"familiar"
1"glinting"
2"gleaming"
3"scanned"
4"lilt"
5"flickered"
6"silence"
7"navigating"
8"unreadable"
9"weight"
10"sanctuary"
11"electric"
12"trembled"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"hung in the air"
count1
highlights
0"hung in the air"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells1
narrationSentences108
matches
0"looked nervous"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences108
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences137
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen45
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1683
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions18
unquotedAttributions0
matches(empty)
16.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions65
wordCount1140
uniqueNames10
maxNameDensity2.19
worstName"Eva"
maxWindowNameDensity4.5
worstWindowName"Eva"
discoveredNames
Carter1
Raven1
Nest1
Blackwood2
Rory24
Eva25
Mendes1
Silas8
Laila1
Cardiff1
persons
0"Carter"
1"Raven"
2"Nest"
3"Blackwood"
4"Rory"
5"Eva"
6"Mendes"
7"Silas"
8"Laila"
places
0"Cardiff"
globalScore0.404
windowScore0.167
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences78
glossingSentenceCount1
matches
0"sounded like an apology, and a final goodb"
0.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches5
per1kWords2.971
wordCount1683
matches
0"Not far, just an inch, but the bourbon sloshed over the rim"
1"not with the usual cautious push of a regular, but with a decisive sweep"
2"not to Rory, but to the man who had silently approached to wipe down the bar"
3"Not a sweep this time, but a cautious creak"
4"not with corporate calculation, but with pure, unadulterated fear"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences137
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs52
mean32.37
std16.58
cv0.512
sampleLengths
056
182
247
374
422
533
65
733
81
929
1017
1159
1217
1339
1421
1526
1627
1720
1828
1922
2033
214
228
2354
2435
2524
2620
2743
2810
2939
3040
3115
3230
3340
3427
3539
3648
3720
3856
3932
4015
4133
4234
4343
4421
4544
4629
4738
4822
4935
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences108
matches
0"were kept"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs185
matches
0"was polishing"
1"were speaking"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences137
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount907
adjectiveStacks0
stackExamples(empty)
adverbCount23
adverbRatio0.025358324145534728
lyAdverbCount9
lyAdverbRatio0.009922822491730982
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences137
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences137
mean12.28
std8.2
cv0.668
sampleLengths
06
119
217
314
45
537
625
77
88
95
1011
1131
1210
1334
141
1511
1618
172
1820
193
2014
213
2213
235
2415
2518
261
2717
2812
2912
305
3115
3223
3321
342
355
364
376
3810
3926
403
4112
429
4311
4415
4518
466
473
4820
4914
50.36% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats6
diversityRatio0.3284671532846715
totalSentences137
uniqueOpeners45
34.01% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences98
matches
0"Then it swung open, not"
ratio0.01
77.14% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount35
totalSentences98
matches
0"It held its breath in"
1"He gave her a barely"
2"She’d been watching the door."
3"She wore a tailored charcoal"
4"Her eyes, the same deep"
5"She walked towards the bar,"
6"She didn’t smile."
7"She stopped two stools away,"
8"She hadn’t been Laila since"
9"She wiped the bar again,"
10"She turned back, her gaze"
11"She investigated, assessed, acquired."
12"She looked at Rory properly,"
13"She finally picked up the"
14"She took a sip, the"
15"They were speaking different languages"
16"He looked from Eva to"
17"It was a reconnaissance mission."
18"She’d come to scope out"
19"He glanced pointedly at Eva’s"
ratio0.357
0.82% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount90
totalSentences98
matches
0"The glass slipped from her"
1"Aurora Carter swore under her"
2"The amber liquid soaked into"
3"The Raven’s Nest didn’t change."
4"It held its breath in"
5"Silas Blackwood was polishing a"
6"He gave her a barely"
7"She’d been watching the door."
8"A bad habit she’d never"
9"The woman who stepped in"
10"She wore a tailored charcoal"
11"The years had polished Eva"
12"Her eyes, the same deep"
13"Eva moved first."
14"She walked towards the bar,"
15"She didn’t smile."
16"She stopped two stools away,"
17"The old name, the safe"
18"She hadn’t been Laila since"
19"A ghost of the old"
ratio0.918
100.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences98
matches
0"Before Rory could answer, the"
1"Even from across the room,"
ratio0.02
55.75% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences41
technicalSentenceCount5
matches
0"Then it swung open, not with the usual cautious push of a regular, but with a decisive sweep that sent a gust of cold night air into the warm, close dark."
1"She looked at Rory properly, taking in the black hair, the faded band t-shirt, the small crescent scar on her wrist peeking from under her sleeve."
2"The corporate armour cracked, and for a second, the sixteen-year-old girl who’d helped Rory ice her bruises after a fall from a tree was there."
3"She looked from the folder, to Rory, and then her gaze shot towards the back of the bar, towards the unassuming bookshelf that hid Silas Blackwood’s secrets."
4"And from the look on her face, it was something that had just put them all in terrible, immediate danger."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags20
uselessAdditionCount6
matches
0"She turned back, her gaze sharp"
1"She took, the bourbon clearly not to her taste"
2"Rory asked, the pieces clicking into a picture she didn’t like"
3"she said, her voice low and fierce"
4"Rory leaned, her voice barely audible"
5"she said, her tone flat"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags10
fancyCount2
fancyTags
0"his presence expanded (expand)"
1"she whispered (whisper)"
dialogueSentences52
tagDensity0.192
leniency0.385
rawRatio0.2
effectiveRatio0.077
78.8631%