Run: 2026-03-12-01KKFPH87YHNC66TNSQVDCZDQT

Run Details

Duration:
58.8s
Cost:
$0.000000
Provider:
Stealth

Model input

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

Model response

AI
The glass slipped, sloshing amber liquid over the back of her hand. Aurora Carter—Rory to anyone who knew her before last Tuesday—snapped the towel from her shoulder and wiped down the lacquered bar top with quick, efficient strokes. The Raven's Nest was three-quarters full, a low murmur of conversation wrapped in the blue-grey haze of someone’s illicit cigarette. The distinctive green neon sign outside cast an aquatic glow through the front window, painting the faces of the drinkers in shades of jade and shadow. “Another pint of the usual, love?” she asked the man slumped over the far end. He grunted, which she took as a yes. She pulled the tap, watching the stout settle. This was the rhythm now. Pull, pour, wipe, serve. A simple, tangible loop that kept her thoughts from drifting back to Cardiff, to the thin, wheedling voice that still sometimes echoed in her dreams. The bell above the door chimed, a bright, false note against the bar’s gloom. A man stepped in, pausing just inside to let his eyes adjust. Tall, but he held himself carefully, the weight unevenly distributed. A slight, almost imperceptible favouring of his left leg. His hair, once a vivid auburn she’d teased him about mercilessly, was now a dignified sweep of grey-streaked colour, neatly brushed back from a face that had acquired new, hard angles. A closely trimmed beard followed the line of his jaw, matching the silver in his hair. He wore a simple, well-cut dark coat, and as he moved towards the bar, the light caught a flash of silver on his right hand—a heavy signet ring. Aurora’s hand stilled on the tap. The stout overflowed, spilling over the glass and pooling in the drip tray with a soft, hissing sigh. Silas Blackwood. Twenty years older, and carrying the weight of every single one of them. He didn’t see her at first. His gaze swept the room, a methodical, professional scan that catalogued exits, faces, and potential threats. It was the same look he’d had at sixteen, when he’d decided which wall to scale to sneak into the cinema. Only now, it held no mischief. It was cold, efficient. Then his eyes landed on her, and for a heartbeat, the professional mask slipped. Something flickered in his hazel eyes—recognition, shock, and a deep, weary kind of sorrow. He made his way to the bar, his limp more pronounced as he navigated the narrow space between stools. He didn’t speak until he’d settled onto the one directly in front of her, placing both hands flat on the wood. The silver ring gleamed. “Aurora Carter.” His voice was different. The bright, laughing tenor had dropped into a lower, quieter register. It was a voice that sounded like it had issued orders in dark rooms. “Silas.” She finished pulling the ruined pint, set it on a fresh mat, and pushed it towards him. “On the house. For the shock.” He didn’t touch the glass. “You’re here. In London. Working in my bar.” “Your bar.” She managed a tight smile. “Small world.” “It’s a large world. This is a choice.” He studied her, his gaze lingering on the straight fall of her black hair, the sharp line of her jaw. “You look… different.” “So do you. The beard suits you. Very… authoritative.” A ghost of a smile touched his lips. “Necessity. Hides a scar.” The words hung between them, heavier than the cigarette smoke. She instinctively touched the small, crescent-shaped scar on her left wrist, a pale sliver against her skin from a childhood fall he’d witnessed. Hers were from accidents. His, it seemed, were from other things. “What are you drinking?” she asked, her tone all business. “Whisky. Neat. Whatever’s oldest.” She turned to the back shelf, her fingers finding the familiar shape of a single malt. The action gave her a moment to breathe. Silas Blackwood. The lanky, reckless boy who’d taught her how to pick a lock with a hairpin and a strip of plastic, who’d read banned poetry aloud on the castle ramparts, who’d promised her the whole sprawling, beautiful world. The boy who’d vanished the summer after their A-levels, leaving only a terse note for his mother and a cold, silent phone line for her. “Cardiff didn’t work out, then,” he said when she set the heavy tumbler before him. “It worked out fine. I finished my degree.” Pre-Law, at her father’s relentless insistence. A path of logic and precedent that felt like a cage. “I just preferred a different direction.” “The direction of a bar in Soho?” “The direction of not being where I was.” The words came out sharper than she intended. He nodded slowly, understanding more than she’d said. He lifted the glass, not to drink, but to examine the colour of the spirit against the dim light. “This place. It’s not just a bar.” “I’ve noticed. The bookshelf in the back doesn’t budge. And the ‘private parties’ you host sound awfully quiet.” “Perceptive. You always were.” He finally took a sip, the whisky disappearing like a secret. “It’s a network. A listening post. Information is the only currency that doesn’t inflate.” “Sounds lonely.” “It’s efficient.” He set the glass down. “And you? What are you running from, Rory? Or to?” The old nickname, the one only he and Eva had ever used, landed like a physical blow. She braced her hands against the bar. “Life throws curveballs. You taught me that. You were the first one who ever threw one my way.” The subtext was clear: *You left. You disappeared. You broke the one rule we had—to never leave the other behind.* Silas absorbed the hit without flinching. “I had my reasons.” “Reasons you couldn’t share with your best friend?” “My field of work discourages… attachments.” “Your field of work.” She gave a short, bitter laugh. “What is it you do, Silas? Besides own a bar that feels like a spy’s waiting room?” He met her gaze, and for the first time, she saw the exhaustion etched into the lines around his eyes. This wasn’t the impish gleam of a boy planning a prank; it was the profound tiredness of a man who’d seen too much. “I used to collect secrets. Now I just curate them. A necessary retirement.” The pieces clicked into place—the professional scan, the controlled movements, the aura of quiet, lethal authority. “Government work.” “Was.” He tapped his left knee lightly. “Prague. A messy situation. The knee was the least of it.” Silence fell, thick and uncomfortable. This was the gap between them, wider than any ocean. He spoke of international incidents and career-ending injuries as if discussing the weather. She’d fled an apartment in Cardiff because a man’s voice made her flinch. Their worlds had spun in utterly different, unrecognisable orbits. “Your father,” Silas said, changing the subject with a deftness that spoke of long practice. “Is he still hounding you about law school?” “He’s a barrister. Hounding is his default setting. But no, we… don’t speak much anymore.” Not since she’d chosen the Golden Empress delivery scooter over a pupillage. “And your mother?” “Still teaching. Still disappointed.” She wiped a clean section of the bar, a nervous tic. “And you? Your mother?” A shadow crossed his face. “Gone. Five years ago. Heart attack. Quick, at least.” “I’m sorry.” The words felt hollow, inadequate. She remembered Mrs. Blackwood’s warm kitchen, the smell of baking bread, the woman’s gentle disapproval of her son’s wild schemes. “Life continues.” He sounded like he was quoting a manual. His fingers traced the rim of his glass. “You know, I kept an eye on you. For a while. Saw you got that First. Saw the articles about your father’s big cases. I thought you’d be happy.” “You were spying on me?” “Checking in. There’s a difference. One implies care.” “The line between the two looks awfully thin from where I’m standing.” He conceded the point with a tilt of his head. “I suppose it does.” He finished his whisky in one smooth motion. The ice clinked, a final, sharp sound. “This is a dangerous place, Rory. Not the bar, but the life adjacent to it. The people who come through that door… they aren’t university friends.” “I can handle myself.” “I know you can. That’s what worries me.” He reached into his coat, producing a small, expensive-looking notebook and a pen. He scribbled something, tore out the page, and slid it across the damp bar. It was a phone number. “If you ever need anything. A real thing. Not a drink.” She looked at the paper, then back at him. The boy she knew was gone, buried under layers of secrets and scars. This man was a stranger, but a stranger who knew the shape of her childhood fears and the sound of her unguarded laugh. It was a disorienting, painful kind of familiarity. “What if I just need to talk to an old friend?” she asked, the vulnerability slipping out before she could stop it. Silas stood, the slight hitch in his movement a reminder of his own vulnerabilities. He placed a few notes on the bar, far more than the cost of the drink. “Old friends are a luxury I can’t afford,” he said. His voice was gentle, but the finality in it was absolute. “But the offer stands. For the real things.” He turned and walked away, his limp carrying him through the green-lit haze towards the door. He didn’t look back. The bell chimed his exit, a hollow, ringing sound that seemed to hang in the air long after he’d vanished into the London night. Aurora stared at the phone number on the scrap of paper. The ink was slightly blurred from the damp bar. She could crumple it, toss it, pretend this strange, painful reunion never happened. She could return to the safe, simple rhythm of pull, pour, wipe, serve. Instead, she carefully smoothed the paper out, folded it once, and slipped it into the back pocket of her jeans. Then she picked up the empty tumbler where Silas had sat. The glass was still warm from his hand. She held it for a moment, feeling the residual heat, a ghost of contact, before turning to wash it clean.
created_at"2026-03-12T00:18:22.109Z" 3/12/2026, 12:18:22 AM
model"openrouter/hunter-alpha"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency8222
moderation_latency(null)
generation_time58765
tokens_prompt4618
tokens_completion3101
native_tokens_prompt4214
native_tokens_completion2585
native_tokens_completion_images(null)
native_tokens_reasoning424
native_tokens_cached4160
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"stop"
usage0
router(null)
provider_responses(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.14.0; linux; x64))"
http_referer(null)
api_type"completions"
id"gen-1773274702-k4H2nckQMgP3TUWiS87r"
upstream_id"gen-1773274702-k4H2nckQMgP3TUWiS87r"
total_cost0
cache_discount(null)
upstream_inference_cost0
provider_name"Stealth"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags20
adverbTagCount1
adverbTags
0"the whisky disappearing like [like]"
dialogueSentences56
tagDensity0.357
leniency0.714
rawRatio0.05
effectiveRatio0.036
79.60% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1716
totalAiIsmAdverbs7
found
0
adverb"carefully"
count2
1
adverb"very"
count1
2
adverb"slowly"
count1
3
adverb"lightly"
count1
4
adverb"utterly"
count1
5
adverb"slightly"
count1
highlights
0"carefully"
1"very"
2"slowly"
3"lightly"
4"utterly"
5"slightly"
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)
47.55% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1716
totalAiIsms18
found
0
word"efficient"
count3
1
word"tangible"
count1
2
word"echoed"
count1
3
word"gloom"
count1
4
word"weight"
count2
5
word"methodical"
count1
6
word"potential"
count1
7
word"flickered"
count1
8
word"navigated"
count1
9
word"familiar"
count1
10
word"etched"
count1
11
word"profound"
count1
12
word"silence"
count1
13
word"traced"
count1
14
word"reminder"
count1
highlights
0"efficient"
1"tangible"
2"echoed"
3"gloom"
4"weight"
5"methodical"
6"potential"
7"flickered"
8"navigated"
9"familiar"
10"etched"
11"profound"
12"silence"
13"traced"
14"reminder"
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
narrationSentences108
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences108
filterMatches(empty)
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences142
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen37
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords16
totalWords1710
ratio0.009
matches
0"You left. You disappeared. You broke the one rule we had—to never leave the other behind."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions14
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions26
wordCount1293
uniqueNames16
maxNameDensity0.46
worstName"Silas"
maxWindowNameDensity1
worstWindowName"Silas"
discoveredNames
Carter1
Rory1
Tuesday1
Raven1
Nest1
Cardiff2
Blackwood3
Pre-Law1
Eva1
Silas6
Silence1
Golden1
Empress1
Mrs1
London1
Aurora3
persons
0"Carter"
1"Rory"
2"Tuesday"
3"Raven"
4"Blackwood"
5"Eva"
6"Silas"
7"Silence"
8"Mrs"
9"Aurora"
places
0"Cardiff"
1"London"
globalScore1
windowScore1
9.55% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences89
glossingSentenceCount5
matches
0"sounded like it had issued orders in dark"
1"felt like a cage"
2"as if discussing the weather"
3"sounded like he was quoting a manual"
4"sound that seemed to hang in the air long after he’d vanished into the London night"
83.04% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.17
wordCount1710
matches
0"not to drink, but to examine the colour of the spirit against the dim light"
1"Not the bar, but the life adjacent to it"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences142
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs57
mean30
std24.11
cv0.804
sampleLengths
084
165
2120
324
415
581
644
731
824
913
109
1131
129
1312
1444
1510
164
1788
1815
1931
207
2116
2234
2318
2429
252
2617
2742
2820
2910
308
316
3227
3356
3418
3518
3650
3723
3827
393
4019
4114
4227
4347
445
458
4612
4755
484
4951
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences108
matches
0"was gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs211
matches
0"was quoting"
22.13% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount6
semicolonCount1
flaggedSentences6
totalSentences142
ratio0.042
matches
0"Aurora Carter—Rory to anyone who knew her before last Tuesday—snapped the towel from her shoulder and wiped down the lacquered bar top with quick, efficient strokes."
1"He wore a simple, well-cut dark coat, and as he moved towards the bar, the light caught a flash of silver on his right hand—a heavy signet ring."
2"Something flickered in his hazel eyes—recognition, shock, and a deep, weary kind of sorrow."
3"You broke the one rule we had—to never leave the other behind.*"
4"This wasn’t the impish gleam of a boy planning a prank; it was the profound tiredness of a man who’d seen too much."
5"The pieces clicked into place—the professional scan, the controlled movements, the aura of quiet, lethal authority."
88.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1308
adjectiveStacks2
stackExamples
0"small, crescent-shaped scar"
1"whole sprawling, beautiful world."
adverbCount39
adverbRatio0.02981651376146789
lyAdverbCount16
lyAdverbRatio0.012232415902140673
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences142
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences142
mean12.04
std7.11
cv0.591
sampleLengths
012
126
220
326
415
58
68
75
84
925
1014
1112
1210
139
1431
1516
1628
176
1818
192
2013
216
2216
2321
246
254
2614
2714
2819
2921
304
316
3211
3314
3418
356
365
378
387
392
4028
413
429
438
444
4510
4623
474
487
4910
48.12% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats10
diversityRatio0.33098591549295775
totalSentences142
uniqueOpeners47
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences104
matches
0"Only now, it held no"
1"Then his eyes landed on"
2"Instead, she carefully smoothed the"
3"Then she picked up the"
ratio0.038
12.31% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount54
totalSentences104
matches
0"she asked the man slumped"
1"He grunted, which she took"
2"She pulled the tap, watching"
3"His hair, once a vivid"
4"He wore a simple, well-cut"
5"He didn’t see her at"
6"His gaze swept the room,"
7"It was the same look"
8"It was cold, efficient."
9"He made his way to"
10"He didn’t speak until he’d"
11"His voice was different"
12"It was a voice that"
13"She finished pulling the ruined"
14"He didn’t touch the glass."
15"She managed a tight smile"
16"He studied her, his gaze"
17"She instinctively touched the small,"
18"Hers were from accidents."
19"His, it seemed, were from"
ratio0.519
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount96
totalSentences104
matches
0"The glass slipped, sloshing amber"
1"Aurora Carter—Rory to anyone who"
2"The Raven's Nest was three-quarters"
3"The distinctive green neon sign"
4"she asked the man slumped"
5"He grunted, which she took"
6"She pulled the tap, watching"
7"This was the rhythm now."
8"A simple, tangible loop that"
9"The bell above the door"
10"A man stepped in, pausing"
11"A slight, almost imperceptible favouring"
12"His hair, once a vivid"
13"A closely trimmed beard followed"
14"He wore a simple, well-cut"
15"Aurora’s hand stilled on the"
16"The stout overflowed, spilling over"
17"He didn’t see her at"
18"His gaze swept the room,"
19"It was the same look"
ratio0.923
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences104
matches(empty)
ratio0
19.23% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences52
technicalSentenceCount9
matches
0"Aurora Carter—Rory to anyone who knew her before last Tuesday—snapped the towel from her shoulder and wiped down the lacquered bar top with quick, efficient str…"
1"A simple, tangible loop that kept her thoughts from drifting back to Cardiff, to the thin, wheedling voice that still sometimes echoed in her dreams."
2"His hair, once a vivid auburn she’d teased him about mercilessly, was now a dignified sweep of grey-streaked colour, neatly brushed back from a face that had ac…"
3"His gaze swept the room, a methodical, professional scan that catalogued exits, faces, and potential threats."
4"The lanky, reckless boy who’d taught her how to pick a lock with a hairpin and a strip of plastic, who’d read banned poetry aloud on the castle ramparts, who’d …"
5"The boy who’d vanished the summer after their A-levels, leaving only a terse note for his mother and a cold, silent phone line for her."
6"This wasn’t the impish gleam of a boy planning a prank; it was the profound tiredness of a man who’d seen too much."
7"He spoke of international incidents and career-ending injuries as if discussing the weather."
8"This man was a stranger, but a stranger who knew the shape of her childhood fears and the sound of her unguarded laugh."
50.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags20
uselessAdditionCount3
matches
0"she asked, her tone all business"
1"The words felt, inadequate"
2"she asked, the vulnerability slipping out before she could stop it"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags6
fancyCount0
fancyTags(empty)
dialogueSentences56
tagDensity0.107
leniency0.214
rawRatio0
effectiveRatio0
75.3180%