Run: 2026-03-11-01KKFGGENVDH75W1CY89PFRDKZ

Run Details

Duration:
2m 17s
Cost:
$0.012514
Provider:
Seed

Model input

System
You are an expert and award-winning novel writer in the dark Literary Fiction genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <character id="4413" name="Silas Blackwood" aliases="Silas, Si, the Spymaster" pronouns="he/him" species="Human" storyRole="Mentor"> <eyeColor>hazel</eyeColor> <hair>grey-streaked auburn</hair> <height>6'1"</height> <age>58</age> <beard>neatly trimmed, matching his grey-streaked auburn hair</beard> <limp>slight limp in his left leg from an old knee injury</limp> <signetRing>silver signet ring, always worn on his right hand</signetRing> <description>Silas is a retired intelligence operative turned bar owner. He carries himself with quiet authority.</description> <backstory>Former MI6 field agent who retired after a botched operation in Prague left him with a permanent knee injury. He opened "The Raven's Nest" bar in Soho as a front for his network of contacts.</backstory> </character> <location id="854" name="The Raven's Nest" aliases="the Nest, Raven, Silas' bar" realm="Earth"> <signColor>distinctive green neon sign above the entrance</signColor> <secretRoom>hidden back room accessible through a bookshelf, used for clandestine meetings</secretRoom> <description>A dimly lit bar in Soho, London. The walls are covered with old maps and black-and-white photographs.</description> </location> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the literary fiction genre. Two old friends who haven't seen each other in years run into each other unexpectedly at a bar. One of them has changed significantly. Through their conversation and the tension between who they were and who they've become, reveal the weight of time and unspoken regret. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The bourbon bottle slipped in Rory’s damp palm, she caught it by the neck before it shattered on the scarred oak bar. She’d scrubbed sesame oil and soy sauce from her skin an hour prior, after dropping the last of the Golden Empress’s dumpling orders in Camden, and the water had stripped her palms of their natural oils, leaving them sticky with the faint, sweet residue of the hand soap she’d stolen from the restaurant’s kitchen. She trundled down the back stairs of the Soho building that housed The Raven’s Nest on the ground floor and her tiny one-bed flat above, had bypassed the leftover pork dumplings in her fridge to beg a free drink off Silas, who owed her for covering his bar shift last weekend when his knee flared up. The Nest hummed with the low murmur of three regulars nursing pints of mild in the back corner, the walls lined with frayed military maps and black and white photos of Prague street corners that Silas never talked about. The green neon sign above the front door bleeded pink through the smudged glass, painting the first stool at the bar in a faint, unearthly glow. Silas wiped down a pint glass with a threadbare tea towel, his silver signet ring catching the light as he moved, the faint limp in his left leg only visible when he shifted his weight to reach a stack of clean glasses on the back shelf. The brass bell above the door jingled. Silas paused mid-wipe, his eyes narrowing, because he locked the front door to newcomers at 11pm, and it was 11:17. Rory turned, her bright blue eyes lifting from the bourbon bottle she’d just set on the bar, and froze. The woman who stepped inside wore a sharp charcoal blazer over a plain white tee, her mousy brown childhood hair dyed a vivid, firetruck red and cut into a blunt chin-length bob, no chipped neon nail polish, no scuffed white trainers she’d worn through every summer of their teens. It was Eva. Eva Marlow, the girl who’d called Rory at 2am three years prior, screaming that she had to leave Cardiff, that Evan was outside her flat with a baseball bat, that she’d book her a train ticket and send her cash if she just ran. The friend she’d exchanged less than a dozen texts with in the time since, the last a silly corgi meme sent on her 24th birthday, no phone calls, no visits, no explanation for the radio silence. Eva’s gaze locked on Rory, and she exhaled a breath she’d been holding, her shoulders slumping like she’d run a marathon. She crossed the bar, her block-heeled boots clicking on the worn linoleum, and leaned against the first stool. Took me long enough to track you down. I thought you were in Cardiff, Rory said, her voice thinner than she intended. Caring for your mum. Eva laughed, a sharp, brittle sound that bore no resemblance to the snorting, unfiltered laugh that used to echo through the beach huts at Barry Island when they skipped school to drink cheap cider. She hooked her bag over the stool’s back and sat down, her fingers tapping the bar top once, twice, a nervous tic Rory remembered from their A-level maths exams. Mum died 18 months ago. Lung cancer. She paused, licked her lips, and ordered a gin and tonic. Extra lime. Rory grabbed the gin bottle from the shelf, poured a double measure into a clean glass, topped it with tonic, dropped a slice of lime into the liquid and pushed it across the bar. Her eyes caught the thin, white scar that sliced through Eva’s left cheekbone, cutting a clean line from the corner of her eye down to her jaw, a mark she’d never had before. She set the tonic bottle down, her palm flat against the wood. What happened to your face. Eva touched the scar with the tip of her index finger, her smile twisting into something that wasn’t a smile at all. Car door. Slammed it on me last winter. Clumsy as ever. Silas tilted his head, his hazel eyes scanning Eva like he was cataloguing every lie in that sentence, then he nodded once at Rory, grabbed his stack of paperwork from the end of the bar, and retreated to the back of the room, his limp more pronounced as he walked. He pulled the oak bookshelf that hid the Nest’s secret meeting room closed behind him, leaving the two of them alone with the quiet hum of the regulars’ conversation in the corner. You never called, Rory said, when the sound of Silas’s footsteps faded. Never told me she was sick. I would’ve come. I would’ve helped. I couldn’t ask you to. Eva swirled her gin, the lime slice bobbing against the edge of the glass. You were just starting over. You’d left Evan, you had a job, a flat, I wasn’t going to drag all that Cardiff shit back to you. She paused, her voice dropping so low Rory had to lean forward to hear it. He came after me, after you left. Blamed me for you running. Beat me so bad I spent a week in hospital. I couldn’t tell you. I didn’t want him to follow you here, too. I thought if I stayed quiet, he’d leave you alone. Rory pulled her left sleeve up, baring the small crescent scar on her wrist, the one she’d got when they were 12, when they’d crashed their shared bike into a broken lager bottle on the way to the beach. Eva’s eyes fixed on it, the same scar she’d cleaned up with a bottle of bleach and a spare plaster from her mum’s handbag that day, carrying Rory three miles to the nearest A&E because they were too scared to tell their parents they’d snuck out to the coast. You didn’t have to protect me alone, Rory said. We were supposed to do all that shit together. Remember? We said we’d move to London together, share a flat, get jobs, never stay in Cardiff longer than we had to. You just left me here to wait for you. I was ashamed, Eva whispered, tears spilling over her cheeks and rolling down her face, smudging the black winged liner she’d painted on that morning. I was the one who told you to run, and I couldn’t even run with you. I let him trap me there. I sold mum’s house six months ago, paid off all dad’s gambling debts, moved to London, got a job at a law firm in the City. I drove past this place every day for two weeks, too scared to knock. I thought you’d hate me for disappearing. I thought you’d built a new life and didn’t need the old mess from Cardiff. Rory rounded the end of the bar, crossed the three feet between them, and pulled Eva into a hug. The blazer was new, the haircut was new, the scar was new, but Eva still smelled like the same lavender shampoo she’d used since they were 13, the one she’d stolen from Boots and shared with Rory for years. Eva sobbed into Rory’s shoulder, her hands fisting the back of Rory’s oversized black hoodie, and Rory rubbed her back, her own eyes burning. They stood like that for a minute, the weight of three years of unspoken regret lifting, just a little, the gap between the girls they’d been in Cardiff and the women they were now closing, if only for a second. They pulled apart when they heard the bookshelf creak open behind them, Silas stepping back into the main bar, his signet ring glinting as he curled his hand into a fist at his side. The brass bell above the door jingled again. Rory turned, her eyes locking on the man standing in the doorway. He was heavier than the last time she’d seen him, his brown hair receding at the temples, the same scuffed black leather jacket he’d worn every day for the five years they were together slung over his shoulders. Evan’s gaze scanned the bar, landed on her, then on Eva, and a slow, cruel smirk spread across his face. He stepped inside, the door clicking shut behind him, and his voice carried across the quiet bar, cutting through the murmur of the regulars’ conversation like a knife. Found you both. Told you I’d hunt you to the ends of the earth.
created_at"2026-03-11T22:33:04.473Z" 3/11/2026, 10:33:04 PM
model"bytedance-seed/seed-2.0-lite-20260309"
app_id182717
external_user(null)
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cancelledfalse
latency895
moderation_latency(null)
generation_time136452
tokens_prompt4618
tokens_completion6127
native_tokens_prompt4521
native_tokens_completion5692
native_tokens_completion_images(null)
native_tokens_reasoning3892
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"
usage0.01251425
router(null)
provider_responses
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is_byokfalse
latency895
model_permaslug"bytedance-seed/seed-2.0-lite-20260309"
provider_name"Seed"
status200
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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)
wordCount1419
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)
64.76% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1419
totalAiIsms10
found
0
word"shattered"
count1
1
word"weight"
count2
2
word"silence"
count1
3
word"echo"
count1
4
word"scanning"
count1
5
word"footsteps"
count1
6
word"unspoken"
count1
7
word"glinting"
count1
8
word"scanned"
count1
highlights
0"shattered"
1"weight"
2"silence"
3"echo"
4"scanning"
5"footsteps"
6"unspoken"
7"glinting"
8"scanned"
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
emotionTells1
narrationSentences75
matches
0"was ashamed"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences75
filterMatches(empty)
hedgeMatches
0"happened to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences75
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen57
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1419
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions12
unquotedAttributions1
matches
0"I thought you were in Cardiff, Rory said, her voice thinner than she intended."
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions71
wordCount1409
uniqueNames20
maxNameDensity1.35
worstName"Rory"
maxWindowNameDensity3
worstWindowName"Rory"
discoveredNames
Rory19
Golden1
Empress1
Camden1
Soho1
Raven1
Nest3
Silas7
Prague1
Eva14
Marlow1
Cardiff6
Evan3
Barry1
Island1
You5
London2
City1
Boots1
Found1
persons
0"Rory"
1"Empress"
2"Raven"
3"Nest"
4"Silas"
5"Eva"
6"Marlow"
7"Evan"
8"You"
places
0"Camden"
1"Soho"
2"Prague"
3"Cardiff"
4"Barry"
5"Island"
6"London"
7"City"
globalScore0.826
windowScore0.667
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences59
glossingSentenceCount1
matches
0"smelled like the same lavender shampoo she"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1419
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences75
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs22
mean64.5
std41.67
cv0.646
sampleLengths
0132
1111
246
3132
439
58
618
763
820
979
105
1133
1282
1324
14105
1588
1649
17109
18122
1942
2098
2114
95.91% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences75
matches
0"were supposed"
1"was ashamed"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs241
matches
0"was cataloguing"
1"were just starting"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences75
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount767
adjectiveStacks0
stackExamples(empty)
adverbCount14
adverbRatio0.018252933507170794
lyAdverbCount3
lyAdverbRatio0.003911342894393742
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences75
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences75
mean18.92
std14.81
cv0.783
sampleLengths
022
154
256
339
426
546
67
720
819
949
103
1144
1236
1321
1418
158
1614
174
1834
1929
205
212
2211
232
2434
2533
2612
275
2822
292
306
313
3250
3332
3412
356
363
373
385
3914
405
4121
4215
437
445
4510
464
479
4810
4939
43.56% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats14
diversityRatio0.37333333333333335
totalSentences75
uniqueOpeners28
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences71
matches(empty)
ratio0
17.18% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount36
totalSentences71
matches
0"She’d scrubbed sesame oil and"
1"She trundled down the back"
2"It was Eva."
3"She crossed the bar, her"
4"I thought you were in"
5"She hooked her bag over"
6"She paused, licked her lips,"
7"Her eyes caught the thin,"
8"She set the tonic bottle"
9"He pulled the oak bookshelf"
10"You never called, Rory said,"
11"I would’ve come."
12"I would’ve helped."
13"I couldn’t ask you to."
14"You were just starting over."
15"You’d left Evan, you had"
16"She paused, her voice dropping"
17"He came after me, after"
18"I couldn’t tell you."
19"I didn’t want him to"
ratio0.507
30.42% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount61
totalSentences71
matches
0"The bourbon bottle slipped in"
1"She’d scrubbed sesame oil and"
2"She trundled down the back"
3"The Nest hummed with the"
4"The green neon sign above"
5"Silas wiped down a pint"
6"The brass bell above the"
7"Silas paused mid-wipe, his eyes"
8"Rory turned, her bright blue"
9"The woman who stepped inside"
10"It was Eva."
11"Eva Marlow, the girl who’d"
12"The friend she’d exchanged less"
13"Eva’s gaze locked on Rory,"
14"She crossed the bar, her"
15"I thought you were in"
16"Eva laughed, a sharp, brittle"
17"She hooked her bag over"
18"Mum died 18 months ago."
19"She paused, licked her lips,"
ratio0.859
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences71
matches(empty)
ratio0
0.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences45
technicalSentenceCount10
matches
0"She trundled down the back stairs of the Soho building that housed The Raven’s Nest on the ground floor and her tiny one-bed flat above, had bypassed the leftov…"
1"The woman who stepped inside wore a sharp charcoal blazer over a plain white tee, her mousy brown childhood hair dyed a vivid, firetruck red and cut into a blun…"
2"Eva Marlow, the girl who’d called Rory at 2am three years prior, screaming that she had to leave Cardiff, that Evan was outside her flat with a baseball bat, th…"
3"Eva’s gaze locked on Rory, and she exhaled a breath she’d been holding, her shoulders slumping like she’d run a marathon."
4"Eva laughed, a sharp, brittle sound that bore no resemblance to the snorting, unfiltered laugh that used to echo through the beach huts at Barry Island when the…"
5"Her eyes caught the thin, white scar that sliced through Eva’s left cheekbone, cutting a clean line from the corner of her eye down to her jaw, a mark she’d nev…"
6"Eva touched the scar with the tip of her index finger, her smile twisting into something that wasn’t a smile at all."
7"I was ashamed, Eva whispered, tears spilling over her cheeks and rolling down her face, smudging the black winged liner she’d painted on that morning."
8"Eva sobbed into Rory’s shoulder, her hands fisting the back of Rory’s oversized black hoodie, and Rory rubbed her back, her own eyes burning."
9"Rory turned, her eyes locking on the man standing in the doorway."
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
80.6166%