Run: 2026-03-11-01KKFJ3ZFT05MYZ3KYJJRFAA0B

Run Details

Duration:
35.5s
Cost:
$0.000000
Provider:
Nvidia

Model input

System
You are an expert and award-winning novel writer in the dark Romance genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <character id="4415" name="Lucien Moreau" aliases="Lucien, Luc, the Frenchman" pronouns="he/him" species="Half-Demon" storyRole="Ally"> <eyeColor>heterochromatic — one amber, one black</eyeColor> <hair>slicked-back platinum blond</hair> <height>5'11"</height> <age>32</age> <cane>ivory-handled cane that conceals a thin blade</cane> <dress>tailored charcoal suits</dress> <description>An impeccably dressed fixer and information broker in London's supernatural underworld. He speaks four languages fluently.</description> <backstory>Born in Marseille to a human mother and a demon father from the realm of Avaros.</backstory> </character> <location id="858" name="Eva's Flat" aliases="Eva's place, the flat on Brick Lane" realm="Earth"> <cat>tabby cat named Ptolemy</cat> <security>three deadbolts on the front door</security> <description>A cramped one-bedroom flat above a curry house on Brick Lane, East London. Every surface is covered with books, scrolls, and research notes.</description> </location> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the romance genre. Two people who parted on complicated terms are forced together again when one shows up unannounced at the other's flat. There's history between them — attraction, hurt, and things left unsaid. Write the scene from the moment the door opens. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
Aurora wiped flour from her fingertips onto the hem of her jeans and glanced at the clock on Eva’s mantel. Half past nine. The rain had turned Brick Lane into a slick mirror, reflecting the neon sign of the curry house below. She was sorting a stack of parcels for Yu‑Fei’s next delivery when a sharp rap cracked the door. Her breath hitched. No one came this late unless they had a reason. She set the parcel down, crossed the narrow room and yanked the door open. Lucien Moreau stood on the threshold, his ivory‑handled cane tapping a steady rhythm against the worn floorboards. His tailored charcoal suit clung to his frame, crisp despite the damp that clung to his coat. One amber eye glowed warm, the other black as a void, scanning her face with a precision that made her pulse stutter. “Rory,” he said, voice low, the French lilt softening the edges. “May I come in?” She stared at the crescent scar on her left wrist, the old ache flaring. “You know I don’t invite strangers in after what happened last time.” His lips twitched, not quite a smile. “Stranger? After Marseille? After the night we—” She cut him off, hand tightening on the doorframe. “Don’t. Not here.” The words came out sharper than she intended, but the memory of his sudden departure still burned like a brand. He stepped back, giving her space, but his gaze lingered on the faint freckle above her eyebrow, the way her black hair fell in a straight line over her shoulder. “I need your help. Something’s moved in the tunnels beneath Aldgate. It’s not just a rumour; there’s a sigil etched in blood, and it’s calling for a… conduit.” Aurora’s mind raced. She had left the world of bars and deliveries behind, but the part of her that loved puzzles, that thrived on out‑of‑the‑box thinking, still hummed. “You could have called. Sent a messenger.” “The message would have been intercepted.” He lifted the cane, the hidden blade catching the hallway light for a split second before he concealed it again. “I needed to be sure you’d hear it straight from me.” She hesitated, the scent of sandalwood and something darker—ozone, maybe—teasing her nostrils. The flat smelled of old paper and tea, but his presence added a sharp note that made her throat dry. “Why me?” she asked, keeping her voice steady. “Because you see patterns where others see chaos.” He lowered his voice, as if the walls might listen. “And because I… I regretted leaving without saying goodbye.” The admission hung between them, raw and unexpected. Aurora felt a flicker of the old attraction, the way his heterochromatic eyes had once seemed to promise both danger and safety. She pushed it down, focusing on the practical. “What do you need me to do?” she asked, crossing her arms, the gesture both defensive and a way to keep her hands from trembling. Lucien’s eyes flicked to the scar on her wrist again. “I need you to decode the sigil. It’s a hybrid of Avaros runes and old Celtic knots. Your mother’s Welsh heritage—she taught you those symbols, didn’t she?” Her mother’s lessons flashed behind her eyelids: the taste of bitter tea, the sound of rain on the roof of their Cardiff home, the way Jennifer had traced the knots with a finger, whispering old wards. “She did.” Aurora’s voice softened, despite herself. He stepped closer, close enough that she could see the faint flecks of gold in his amber iris, the way his blond hair caught the light like spun moonlight. “I’ll need you to come with me to the site. Tonight. There’s a ward that only a blood‑tied human can activate without triggering the trap.” Aurora’s heart hammered. The idea of going back into the shadows, of facing whatever lurked below London, both thrilled and terrified her. She thought of the night they’d spent in his Marseille apartment, the way his hand had traced the line of her jaw before he vanished at dawn, leaving only a note and a hollow feeling. “Why now?” she asked, the question slipping out before she could stop it. “Why not wait until morning?” “Because the sigil’s power wanes with the dawn.” He tapped the cane once, twice, a soft tick‑tock that echoed in the quiet hall. “And because I couldn’t bear the thought of you finding out from someone else.” She searched his face for deceit, finding only a fierce intensity that made her breath catch. The rational part of her warned her to shut the door, to protect herself from another abandonment. Yet another part, quieter but insistent, whispered that this might be a chance to finish what they’d started. “Alright,” she said, surprising herself. “I’ll help. But we set the terms. You tell me everything you know, no secrets. And if anything goes wrong, we leave together. No heroics.” Lucien inclined his head, a gesture of respect that felt both old‑world and genuine. “Agreed. No secrets. No heroics.” She moved aside, gesturing him inside. As he stepped over the threshold, the floorboards creaked under his weight, a sound that seemed to sync with the pounding in her chest. He brushed past her, his shoulder grazing hers, and she felt a jolt of static, like the snap of a live wire. “Tea?” she offered, needing something steady to anchor herself. “Black, no sugar,” he replied, settling onto the narrow sofa. The cushions sank under his weight, the fabric whispering against his suit. She moved to the kitchenette, the clink of the kettle filling the small space. As she waited for the water to boil, she glanced at him from the corner of her eye. He sat perfectly poised, one leg crossed over the other, his cane resting against the armrest like an extension of himself. His gaze flicked to the window, where the rain had softened to a steady drizzle, then back to her, measuring. When the whistle sang, she poured the water into two chipped mugs, the steam curling upward like ghostly fingers. She carried them over, setting one on the coffee table before him. He nodded his thanks, his fingers brushing hers as he took the mug. The contact was brief, but it sent a shiver up her arm, a reminder of the heat that had once flared between them. “Tell me about the sigil,” she said, wrapping her hands around her own mug, the warmth seeping into her palms. He leaned forward, the amber eye glinting with focus. “It’s drawn in fresh blood, mixed with crushed obsidian. The outer circle is a Celtic knot for protection, but inside, the Avaros runes spell ‘hunger’ in reverse. Whoever activated it intended to summon something… feeding.” Aurora’s mind began to spin, connecting the dots she’d seen in Eva’s research notes scattered across the table—symbols of binding, of wards, of ancient pacts. “If it’s feeding, what does it want?” Lucien’s expression darkened. “Power. Or perhaps a gateway. The texts speak of a ‘Maw’ that can devour both flesh and soul if left unchecked.” She felt a cold prickle at the base of her skull. “And you think I can stop it?” “I think you can read it. And I think, together, we can seal it.” She looked at the scar on her wrist again, the old memory of a childhood accident now feeling like a portent. “What if I’m wrong?” He set his mug down, the ceramic making a soft clink. “Then we’ll face whatever comes, side by side.” The words hung in the air, thick with unspoken history and a promise that felt both dangerous and hopeful. Aurora felt the pull of his presence, the way his proximity made the world narrow to the space between them. She wanted to reach out, to trace the line of his jaw, to see if the memory of his touch still fit her skin like a forgotten glove. Instead, she stood, gathering her resolve. “Show me the sigil. Let’s see what we’re dealing with.” Lucien rose smoothly, his cane tapping a soft rhythm as he moved toward the window. He pulled back the heavy curtain, revealing the rain‑slicked street below, the glow of the distant traffic lights painting shadows that moved like living things. He turned to her, his expression earnest. “It’s not far. A disused service tunnel beneath Aldgate East. We’ll need to move quickly before the ward fully activates.” Aurora slipped her feet into her boots, the leather creaking softly. She grabbed her jacket from the hook, the fabric soft against her skin, and paused at the door, looking back at him. He stood there, half‑in‑shadow, half‑in‑light, his heterochromatic eyes holding hers with an intensity that made her stomach flip. “Ready?” he asked, voice low. She met his gaze, feeling the old hurt, the lingering attraction, the undeniable pull of something unresolved. “Ready,” she answered, and opened the door. The hallway beyond was dim, the smell of damp stone and distant oil mixing with the faint perfume of his cologne. As they stepped out, the building shuddered faintly—a low groan that seemed to come from deep below. Lucien glanced at her, a fleeting smile touching his lips. “After you.” Aurora took a breath, stepped forward, and the door clicked shut behind them, sealing them into the night’s uncertain promise.
created_at"2026-03-11T23:01:12.855Z" 3/11/2026, 11:01:12 PM
model"nvidia/nemotron-3-super-120b-a12b-20230311:free"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency406
moderation_latency(null)
generation_time35391
tokens_prompt4573
tokens_completion4242
native_tokens_prompt4230
native_tokens_completion3642
native_tokens_completion_images(null)
native_tokens_reasoning1822
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
0
endpoint_id"970aecad-f13b-4ec3-9362-e1758aea3e56"
id"chatcmpl-a5ac6d1571451c1a"
is_byokfalse
latency228
model_permaslug"nvidia/nemotron-3-super-120b-a12b-20230311"
provider_name"Nvidia"
status200
user_agent"langchainjs-openai/1.0.0 ((node/v24.14.0; linux; x64))"
http_referer(null)
api_type"completions"
id"gen-1773270072-O9oOZTeBanD8veOO87Y8"
upstream_id"chatcmpl-a5ac6d1571451c1a"
total_cost0
cache_discount(null)
upstream_inference_cost0
provider_name"Nvidia"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags15
adverbTagCount0
adverbTags(empty)
dialogueSentences38
tagDensity0.395
leniency0.789
rawRatio0
effectiveRatio0
90.38% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1560
totalAiIsmAdverbs3
found
0
adverb"perfectly"
count1
1
adverb"quickly"
count1
2
adverb"softly"
count1
highlights
0"perfectly"
1"quickly"
2"softly"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
19.87% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1560
totalAiIsms25
found
0
word"scanning"
count1
1
word"pulse"
count1
2
word"lilt"
count1
3
word"eyebrow"
count1
4
word"etched"
count1
5
word"raced"
count1
6
word"flicker"
count1
7
word"flicked"
count2
8
word"traced"
count2
9
word"echoed"
count1
10
word"intensity"
count2
11
word"weight"
count2
12
word"pounding"
count1
13
word"reminder"
count1
14
word"warmth"
count1
15
word"glinting"
count1
16
word"maw"
count1
17
word"unspoken"
count1
18
word"resolve"
count1
19
word"stomach"
count1
20
word"fleeting"
count1
highlights
0"scanning"
1"pulse"
2"lilt"
3"eyebrow"
4"etched"
5"raced"
6"flicker"
7"flicked"
8"traced"
9"echoed"
10"intensity"
11"weight"
12"pounding"
13"reminder"
14"warmth"
15"glinting"
16"maw"
17"unspoken"
18"resolve"
19"stomach"
20"fleeting"
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
narrationSentences79
matches
0"felt a jolt"
70.52% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount4
narrationSentences79
filterMatches(empty)
hedgeMatches
0"seemed to"
1"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences102
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen36
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1555
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions18
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions25
wordCount1197
uniqueNames11
maxNameDensity0.75
worstName"Aurora"
maxWindowNameDensity1.5
worstWindowName"Aurora"
discoveredNames
Eva2
Brick1
Lane1
Moreau1
French1
Lucien6
Cardiff1
Jennifer1
London1
Marseille1
Aurora9
persons
0"Eva"
1"Moreau"
2"Lucien"
3"Jennifer"
4"Aurora"
places
0"Brick"
1"Lane"
2"Cardiff"
3"London"
4"Marseille"
globalScore1
windowScore1
44.37% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences71
glossingSentenceCount3
matches
0"not quite a smile"
1"sound that seemed to sync with the pounding in her chest"
2"groan that seemed to come from deep below"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1555
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences102
matches
0"whispered that this"
99.26% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs49
mean31.73
std15.79
cv0.497
sampleLengths
060
113
214
356
415
526
614
732
858
935
1037
1132
128
1327
1438
1525
1637
1743
1854
1957
2018
2137
2251
2330
2419
2552
269
2722
2873
2931
3036
3120
3244
3332
3424
3518
3614
3725
3819
3967
4016
4140
4227
4333
4423
4524
4638
4712
4820
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences79
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs195
matches
0"was sorting"
30.81% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount4
semicolonCount1
flaggedSentences4
totalSentences102
ratio0.039
matches
0"“I need your help. Something’s moved in the tunnels beneath Aldgate. It’s not just a rumour; there’s a sigil etched in blood, and it’s calling for a… conduit.”"
1"She hesitated, the scent of sandalwood and something darker—ozone, maybe—teasing her nostrils."
2"Aurora’s mind began to spin, connecting the dots she’d seen in Eva’s research notes scattered across the table—symbols of binding, of wards, of ancient pacts."
3"As they stepped out, the building shuddered faintly—a low groan that seemed to come from deep below."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1201
adjectiveStacks0
stackExamples(empty)
adverbCount29
adverbRatio0.02414654454621149
lyAdverbCount7
lyAdverbRatio0.005828476269775187
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences102
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences102
mean15.25
std8.03
cv0.527
sampleLengths
020
13
219
318
43
510
614
717
817
922
1011
114
1214
1312
147
157
169
1723
1830
1928
203
2125
227
2326
2411
2512
2620
278
2818
299
308
3122
328
3325
3410
3527
3636
377
3829
3925
403
4119
4235
4313
445
4523
4614
4716
4817
4918
56.86% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats2
diversityRatio0.35294117647058826
totalSentences102
uniqueOpeners36
42.19% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences79
matches
0"Instead, she stood, gathering her"
ratio0.013
0.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount45
totalSentences79
matches
0"She was sorting a stack"
1"Her breath hitched."
2"She set the parcel down,"
3"His tailored charcoal suit clung"
4"he said, voice low, the"
5"She stared at the crescent"
6"His lips twitched, not quite"
7"She cut him off, hand"
8"He stepped back, giving her"
9"She had left the world"
10"He lifted the cane, the"
11"She hesitated, the scent of"
12"she asked, keeping her voice"
13"He lowered his voice, as"
14"She pushed it down, focusing"
15"she asked, crossing her arms,"
16"Her mother’s lessons flashed behind"
17"He stepped closer, close enough"
18"She thought of the night"
19"she asked, the question slipping"
ratio0.57
16.96% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount70
totalSentences79
matches
0"Aurora wiped flour from her"
1"The rain had turned Brick"
2"She was sorting a stack"
3"Her breath hitched."
4"She set the parcel down,"
5"Lucien Moreau stood on the"
6"His tailored charcoal suit clung"
7"he said, voice low, the"
8"She stared at the crescent"
9"His lips twitched, not quite"
10"She cut him off, hand"
11"The words came out sharper"
12"He stepped back, giving her"
13"Aurora’s mind raced."
14"She had left the world"
15"He lifted the cane, the"
16"She hesitated, the scent of"
17"The flat smelled of old"
18"she asked, keeping her voice"
19"He lowered his voice, as"
ratio0.886
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences79
matches(empty)
ratio0
0.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences51
technicalSentenceCount11
matches
0"His tailored charcoal suit clung to his frame, crisp despite the damp that clung to his coat."
1"One amber eye glowed warm, the other black as a void, scanning her face with a precision that made her pulse stutter."
2"She had left the world of bars and deliveries behind, but the part of her that loved puzzles, that thrived on out‑of‑the‑box thinking, still hummed."
3"The flat smelled of old paper and tea, but his presence added a sharp note that made her throat dry."
4"She searched his face for deceit, finding only a fierce intensity that made her breath catch."
5"Lucien inclined his head, a gesture of respect that felt both old‑world and genuine."
6"As he stepped over the threshold, the floorboards creaked under his weight, a sound that seemed to sync with the pounding in her chest."
7"The words hung in the air, thick with unspoken history and a promise that felt both dangerous and hopeful."
8"He pulled back the heavy curtain, revealing the rain‑slicked street below, the glow of the distant traffic lights painting shadows that moved like living things…"
9"He stood there, half‑in‑shadow, half‑in‑light, his heterochromatic eyes holding hers with an intensity that made her stomach flip."
10"As they stepped out, the building shuddered faintly—a low groan that seemed to come from deep below."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags15
uselessAdditionCount4
matches
0"he said, voice low, the French lilt softening the edges"
1"He lowered, as if the walls might listen"
2"she asked, the question slipping out before she could stop it"
3"he asked, voice low"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags9
fancyCount0
fancyTags(empty)
dialogueSentences38
tagDensity0.237
leniency0.474
rawRatio0
effectiveRatio0
72.3746%