Run: 2026-03-11-01KKFF46RPM1YWQRJZJ8RV7B6K

Run Details

Duration:
2m 1s
Cost:
$0.011402
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
Rory’s knuckles scraped congealed lager grime off a glass bottle as she hauled the crate out from behind the bar’s scuffed pool table. It was the slowest Tuesday of the month, only three regulars tucked in the back booths, nursing pints that had gone flat an hour prior. Silas had begged her to fill in after his part-time bartender bailed to go to a festival in Leeds, and she’d agreed, if only to avoid the stack of unpaid bills that sat on her kitchen table back in the flat above. The Raven’s Nest smelled of cedar polish and old smoke, the walls lined with frayed 1970s maps of Eastern Europe and grainy black and white photos of men Rory never asked about. The green neon sign above the door hummed loud enough to vibrate the fogged glass, casting streaks of lime over the scuffed oak bar. Silas polished a pint glass with a frayed cloth, his grey-streaked auburn beard catching the low light as he tapped his silver signet ring against the wood. You break that bottle, you’re paying for it out of your next tip. Rory laughed, wiping her damp palm on the thigh of her worn jeans, and opened her mouth to toss back a quip about his stingy tip policy when the front door slammed open. Wind gusted in, carrying the smell of rain and exhaust from Soho’s crowded streets, and the brass bell above the lintel jangled so hard it tore free from its hook, clattering to the tile floor. A woman stepped in, shaking rain off the collar of a plain heavy black wool coat, her face half hidden. She was five and a half feet tall, the same height as Rory, her hair cut into a blunt mousy brown bob that skimmed her jaw. Back in Cardiff, that same hair had been neon pink, chopped into choppy layers that fell in her eyes when she skated down the steep hill near their university. She’d had a tiny silver star tattoo inked behind her left ear the night of their 18th birthday, when they’d snuck into a back-alley parlor and lied about their ages to the artist. Right now, that spot was covered with a crumpled flesh-toned band-aid, her hands stuffed deep in her coat pockets, no chipped black nail polish, no scuffed platform boots, just plain black trainers worn thin at the toes. Rory froze. The lager bottle slipped from her grip, hitting the concrete floor with a dull thud that turned every head in the bar. She rubbed the small crescent scar on her left wrist, the childhood injury she picked at when fear coiled tight in her chest, a habit she never managed to break. Silas set his polishing cloth down slow, his hazel eyes sharp. He knew every detail of Evan, the abusive ex who’d driven Rory from Cardiff three years prior, the night she’d showed up on his bar’s doorstep with a split lip and a single garbage bag of clothes. He’d given her the flat above the Nest, lined up her delivery job at Yu-Fei’s Golden Empress restaurant, and kept her hidden from anyone who might pass her location along. He pushed off the bar, his left leg dragging just a little, the old Prague knee injury flaring when he tensed, ready to step between Rory and whatever stranger had just tracked her down. The woman lifted her head, and her dark eyes locked on Rory’s. She crossed the bar in three quick strides, her boots tapping the tile, and stopped a foot away, her chest heaving like she’d run miles to get there. I didn’t think you’d still be here. I thought you were dead. Rory’s voice came out rough, raw. I sent you a hundred texts. Called every number I had for you. You never replied. Eva laughed, but the sound was hollow, nothing like the loud braying laugh that used to echo through their student flat, the one that had gotten them thrown out of three libraries and a cinema. I couldn’t reply. He was watching me. Every number I used, every email, every social media account. He knew everything. Silas leaned against the bar, his signet ring still tapping a steady rhythm against the oak. You’re the friend who called her that night. Eva, right. Eva nodded, her gaze darting to the door like she expected someone to burst through it any second. That’s me. Silas jerked his head at the floor-to-ceiling bookshelf that lined the back wall of the bar, the one hiding the hidden meeting room he used for quiet network business. Take this somewhere private. I’ll shoo the regulars out in ten, keep watch for anyone loitering. No one bothers you back there. He slipped a small folding knife into Rory’s palm as she walked past, his hand closing tight around hers for half a second. Be careful. Rory pulled the worn spine of Tinker Tailor Soldier Spy, the trigger that unlocked the bookshelf’s hinge, and swung the door open. The back room was small, lit by a single flickering brass lamp, its threadbare grey couch dotted with old cigarette burns, a stack of Silas’s old case files stacked on the coffee table. She shut the bookshelf behind them, and the hum of the neon sign dimmed to a low thrum. They sat on opposite ends of the couch, and Rory’s gaze caught on the dark purple bruise peeking out from under Eva’s bob, wrapping around her jawline. She didn’t say it out loud, didn’t need to; the pain hung thick between them, heavy as the dust on the case files. He found me a week after you left Cardiff, Eva said, her voice flat, like she was reciting a grocery list instead of the worst years of her life. Showed up at my flat at two in the morning, kicked the door in. Beat me until I couldn’t stand, said if I didn’t tell him where you went, he’d burn my parents’ cottage in the Brecon Beacons to the ground. I lied, said I didn’t know, but he didn’t believe me. He made me work for him. Move his drug packages, clean his flats, answer his phones. Kept me locked in a spare room when I wasn’t working. I couldn’t run, couldn’t call anyone. He had people watching me every second. Rory’s throat burned. She’d been so scared of Evan finding her that she’d cut off everyone from Cardiff, changed her number, deleted all her old social media, even told the few friends she made in London never to mention her real name online. She’d left Eva to face him alone, had spent three years building a new life while her oldest friend was trapped with the monster she’d run from. I should have come back for you. I was so scared I just ran. I forgot you were there, that you’d ever needed me to fight for you. You did what you had to. Eva’s voice cracked, and she wiped a tear off her cheek with the back of her hand, sharp and angry at herself for crying. He would have killed you if he found you. I knew that. I didn’t blame you, not at first. But after the first year, after I spent twelve months sleeping with a kitchen knife under my pillow, wondering if you even remembered I existed? It got hard. Hard not to resent you for getting out, while I was still stuck. That’s the weight of it, isn’t it? We were 17, sneaking into clubs and planning to move to Paris together, and then life split us apart and neither of us knew how to put it back together. Rory nodded, the words sticking in her throat. She’d carried that same regret for years, the grief of losing the friend she’d been inseparable from since they were 11, the girl who’d taught her to steal crisps from the corner shop and skip class to go to the beach. She’d thought Eva had abandoned her, that Eva had chosen Evan over her, and the truth was far worse: she’d abandoned Eva. Eva leaned forward, her voice dropping to a urgent hiss, the old fire in her eyes flaring for the first time all night. I didn’t just come here to apologize, or to catch up. He followed me to London. I saw his white van parked outside Paddington when I got off the train. I lost him, but he’s here. He’s looking for you. He told me, before I ran, that if he ever found you, he’d make you regret ever leaving him. He’s not just coming to yell, Rory. He’s coming to kill you. The words hung in the small room, thick as smoke, and before Rory could process them, before she could reach for the knife Silas had slipped her, a loud bang echoed through the wood of the bookshelf. Silas’s voice cut through, sharp and cold, loud enough to hear through the solid oak. Rory. There’s a bloke at the bar. Asked for you by name. Has a printed photo of you in his hand. He’s not alone.
created_at"2026-03-11T22:08:54.58Z" 3/11/2026, 10:08:54 PM
model"bytedance-seed/seed-2.0-lite-20260309"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency923
moderation_latency(null)
generation_time120635
tokens_prompt4618
tokens_completion5462
native_tokens_prompt4521
native_tokens_completion5136
native_tokens_completion_images(null)
native_tokens_reasoning3204
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"
usage0.01140225
router(null)
provider_responses
0
endpoint_id"bf1a3473-7a0a-46d3-aaa5-adb8f876a697"
id"02177326693470670c18af9f89e89788c62dbe22223236170821e"
is_byokfalse
latency923
model_permaslug"bytedance-seed/seed-2.0-lite-20260309"
provider_name"Seed"
status200
user_agent"langchainjs-openai/1.0.0 ((node/v24.14.0; linux; x64))"
http_referer(null)
api_type"completions"
id"gen-1773266934-SVTI2qNBbSCdSG30Hpez"
upstream_id"02177326693470670c18af9f89e89788c62dbe22223236170821e"
total_cost0.01140225
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
totalTags1
adverbTagCount0
adverbTags(empty)
dialogueSentences0
tagDensity1
leniency1
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1526
totalAiIsmAdverbs0
found(empty)
highlights(empty)
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)
90.17% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1526
totalAiIsms3
found
0
word"echo"
count1
1
word"weight"
count1
2
word"echoed"
count1
highlights
0"echo"
1"weight"
2"echoed"
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
narrationSentences94
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences94
filterMatches(empty)
hedgeMatches
0"managed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences94
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen43
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1526
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions13
unquotedAttributions1
matches
0"He found me a week after you left Cardiff, Eva said, her voice flat, like she was reciting a grocery list instead of the…"
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions67
wordCount1517
uniqueNames24
maxNameDensity1.12
worstName"Rory"
maxWindowNameDensity2.5
worstWindowName"Eva"
discoveredNames
Tuesday1
Leeds1
Raven1
Nest2
Eastern1
Europe1
Rory17
Soho1
Cardiff4
Evan3
Yu-Fei1
Golden1
Empress1
Prague1
Tinker1
Tailor1
Soldier1
Spy1
Silas8
Eva11
London2
Paris1
Paddington1
You4
persons
0"Raven"
1"Nest"
2"Rory"
3"Evan"
4"Silas"
5"Eva"
6"You"
places
0"Leeds"
1"Eastern"
2"Europe"
3"Soho"
4"Cardiff"
5"Yu-Fei"
6"Prague"
7"London"
8"Paris"
9"Paddington"
globalScore0.94
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences75
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1526
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences94
matches
0"break that bottle"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs19
mean80.32
std55.34
cv0.689
sampleLengths
0146
140
2213
3166
440
57
627
755
826
920
1076
11123
12121
1398
14127
1571
1694
1752
1824
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences94
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs280
matches
0"was watching"
1"was reciting"
2"wasn’t working"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount1
flaggedSentences1
totalSentences94
ratio0.011
matches
0"She didn’t say it out loud, didn’t need to; the pain hung thick between them, heavy as the dust on the case files."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1008
adjectiveStacks1
stackExamples
0"plain heavy black wool"
adverbCount17
adverbRatio0.016865079365079364
lyAdverbCount3
lyAdverbRatio0.002976190476190476
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences94
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences94
mean16.23
std11.68
cv0.72
sampleLengths
023
125
242
332
424
527
613
733
835
920
1026
1129
1233
1337
142
1522
1630
1711
1837
1930
2034
2112
2228
237
245
256
266
277
283
2935
303
314
3210
333
3416
358
362
3718
382
3929
404
4112
426
4323
442
4522
4633
4718
4827
4923
38.30% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats14
diversityRatio0.3191489361702128
totalSentences94
uniqueOpeners30
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences89
matches(empty)
ratio0
0.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount49
totalSentences89
matches
0"It was the slowest Tuesday"
1"You break that bottle, you’re"
2"She was five and a"
3"She’d had a tiny silver"
4"She rubbed the small crescent"
5"He knew every detail of"
6"He’d given her the flat"
7"He pushed off the bar,"
8"She crossed the bar in"
9"I didn’t think you’d still"
10"I thought you were dead."
11"I sent you a hundred"
12"You never replied."
13"I couldn’t reply."
14"He was watching me."
15"He knew everything."
16"You’re the friend who called"
17"I’ll shoo the regulars out"
18"He slipped a small folding"
19"She shut the bookshelf behind"
ratio0.551
38.65% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount75
totalSentences89
matches
0"Rory’s knuckles scraped congealed lager"
1"It was the slowest Tuesday"
2"Silas had begged her to"
3"The Raven’s Nest smelled of"
4"The green neon sign above"
5"Silas polished a pint glass"
6"You break that bottle, you’re"
7"Rory laughed, wiping her damp"
8"Wind gusted in, carrying the"
9"A woman stepped in, shaking"
10"She was five and a"
11"She’d had a tiny silver"
12"The lager bottle slipped from"
13"She rubbed the small crescent"
14"Silas set his polishing cloth"
15"He knew every detail of"
16"He’d given her the flat"
17"He pushed off the bar,"
18"The woman lifted her head,"
19"She crossed the bar in"
ratio0.843
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences89
matches(empty)
ratio0
0.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences54
technicalSentenceCount12
matches
0"It was the slowest Tuesday of the month, only three regulars tucked in the back booths, nursing pints that had gone flat an hour prior."
1"Silas had begged her to fill in after his part-time bartender bailed to go to a festival in Leeds, and she’d agreed, if only to avoid the stack of unpaid bills …"
2"Wind gusted in, carrying the smell of rain and exhaust from Soho’s crowded streets, and the brass bell above the lintel jangled so hard it tore free from its ho…"
3"She was five and a half feet tall, the same height as Rory, her hair cut into a blunt mousy brown bob that skimmed her jaw."
4"He’d given her the flat above the Nest, lined up her delivery job at Yu-Fei’s Golden Empress restaurant, and kept her hidden from anyone who might pass her loca…"
5"She crossed the bar in three quick strides, her boots tapping the tile, and stopped a foot away, her chest heaving like she’d run miles to get there."
6"Eva laughed, but the sound was hollow, nothing like the loud braying laugh that used to echo through their student flat, the one that had gotten them thrown out…"
7"Silas jerked his head at the floor-to-ceiling bookshelf that lined the back wall of the bar, the one hiding the hidden meeting room he used for quiet network bu…"
8"Rory pulled the worn spine of Tinker Tailor Soldier Spy, the trigger that unlocked the bookshelf’s hinge, and swung the door open."
9"They sat on opposite ends of the couch, and Rory’s gaze caught on the dark purple bruise peeking out from under Eva’s bob, wrapping around her jawline."
10"She’d carried that same regret for years, the grief of losing the friend she’d been inseparable from since they were 11, the girl who’d taught her to steal cris…"
11"Eva leaned forward, her voice dropping to a urgent hiss, the old fire in her eyes flaring for the first time all night."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags1
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags0
81.4818%