Run: 2026-04-24-01KQ02G2C8N18RAYTCBWX93V10

Run Details

Duration:
34.4s
Cost:
$0.005357
Provider:
Xiaomi

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
The knock was three sharp raps, precise and demanding, cutting through the muffled drum of rain against the windowpane. Rory’s fingers stilled on the spine of the book she was shelving, her posture straightening instinctively. Visitors didn’t happen. Not here, not unannounced, and certainly not with that particular, coded insistence. She crossed the cramped living space, her socked feet silent on the worn floorboards, and slid the three heavy deadbolts. The chain stayed. “Who is it?” “Someone who has been trying your mobile for six hours,” a voice answered, low and edged with a familiar, clipped French accent that always managed to sound both weary and amused at once. “The rain, it seems, is not just for the English.” Her breath caught for a fraction of a second. She pushed it down. She unhooked the chain and opened the door just enough to see him. Lucien Moreau stood framed in the dim, narrow hallway, water dripping from the tailored shoulders of his charcoal suit. His platinum blond hair was slicked back, not a strand out of place, as if the downpour had been a personal affront he’d chosen to ignore. The ivory handle of his cane gleamed under the weak overhead light. His heterochromatic gaze—one warm amber, one deep, starless black—fixed on her. “You could have texted,” Rory said, her voice flat. “Texts are for appointments. This is… an exigency.” He didn’t wait for an invitation. He stepped forward, and she found herself retreating into the flat, the door swinging shut behind him. The scent of wet wool, old paper, and something faintly spiced, like clove and ozone, filled the space. He took in the chaos of Eva’s flat in one sweep: the precarious towers of books, the scrolls spilling from a teetering pile, the curry house smells seeping up through the floorboards. “Your friend’s study habits have not improved.” “She’s at the archives.” Rory folded her arms. The scar on her left wrist ached, a phantom echo. “What do you want, Lucien?” “Straight to it. No ‘Lucien, you look dreadful’? No ‘can I take your coat’?” He unbuttoned his suit jacket with practiced economy, revealing a crisp white shirt beneath. “I require your particular skills. And you require information about the Red Hook sigil you were researching last month.” A cold knot tightened in her stomach. He knew about that. Of course he knew. “I’m not doing freelance occult archaeology.” “Not for money, no. For survival.” He pulled a slim, waterproof folio from his inner pocket and placed it on the nearest clear surface, a small table buried under scrolls. He did not sit. He leaned on his cane, the picture of controlled urgency. “The sigil was part of a set. A key. And someone has just assembled the final piece. They are not planning a garden party.” Ptolemy, the tabby, chose that moment to emerge from under a pile of scrolls, winding himself figure-eights around Lucien’s legs. Without looking down, Lucien nudged the cat away with the tip of his cane. The cat hissed softly and retreated under Eva’s desk. “You always did make an impression,” Rory muttered, her gaze flicking from the folio to his face. The sharp line of his jaw, the way the heterochromatic eyes always seemed to be calculating two different angles of attack. “And you always did know how to find the pressure point.” “The pressure point is London currently teetering on the brink of a minor demonic incursion because some dilettante played with forces they don’t understand.” He flipped open the folio. Inside were high-resolution photographs of stone tablets, ancient script, and a crude charcoal rubbing of a symbol that made Rory’s skin prickle. “This is what they found. A translation suggests a summoning. A gate. Very messy.” She leaned closer, her curiosity warring with the old, familiar wariness. The photographs were crisp, the angles precise. Lucien’s work. “This is from the British Museum archives. Restricted access.” “Access is a concept I’ve always found somewhat fluid.” He slid a single, typed page across the table. “Your payment. Names, dates, and shipping manifests. Everything Evan’s associates have been moving through the Port of Tilbury for the last six months. Proof of the money laundering. Enough to bury them.” Her blood ran cold. Evan. Not just a name, but a history, a scar deeper than the one on her wrist. She didn’t touch the page. “Why?” “Because they are moving more than illicit goods. And because,” his voice dropped, losing its faintly sardonic edge, becoming something harder, more serious, “the last person who tried to interfere with their occult acquisitions disappeared three weeks ago. They found his tongue in a jar on a market stall in Petticoat Lane. No body. Just the tongue.” Rory swallowed. She could taste the fear, metallic and sharp. “You could have sent this. You didn’t need to come here.” His black eye seemed to absorb the light. The amber one glittered. “Some things require the personal touch. Besides,” he reached out, his fingers brushing her forearm in a gesture that was over too quickly, “I wanted to ensure you understood the gravity. This is not a puzzle for you to solve from the safety of a library. This is blood and fire. And they are already looking for you. Your name was mentioned in a… spirited conversation I overheard.” She jerked her arm away, more from the ghost of his touch than his words. “You eavesdrop.” “I listen. There’s a difference.” He straightened, adjusting his cufflink. The simple motion reeked of wealth and controlled power. “The choice is yours, Aurora. Walk away. Return to your deliveries and your quiet life, and pray the gate doesn’t open under your feet. Or…” He gestured to the folio, then to the page with Evan’s name. “Use that brilliant, infuriating mind of yours. Help me stop them. And in return, you get what you’ve been digging for since you fled to London. A way to make them pay. Permanently.” Silence stretched, thick with the sound of rain and the ticking of a clock buried somewhere under a book. The flat felt smaller, the walls pressing in. She could leave. She could tell him to get out, to take his danger and his offers and his expensive suit with him. She could go back to the simple, numb reality of dodging landlord’s calls and delivering noodles. Her eyes fell on the page. Evan’s name, printed in black and white. The ghost of his hands, the echo of his voice. The reason she slept with the lights on. She picked up the page. The paper was heavy, expensive. “These manifests. Are they current?” A faint, not-quite-smile touched Lucien’s lips. “As of this morning.” “And the sigil? You have the full set now?” “In my possession. It needs to be decoded. Properly. Not by some self-taught enthusiast with a internet forum and a death wish.” He held her gaze. “I have the resources. You have the instinct. And the motivation.” The motivation. A bitter laugh bubbled in her throat. He dangled Evan like a worm on a hook, and she, the desperate fish, was already leaning in. She hated him for knowing her so well. Hated herself more for being so transparent. “I work alone,” she said, the words tasting like ash. “Not on this. This is a partnership, Rory. A temporary one, I assure you.” He stepped closer, invading her space. He was taller than her, even with her standing and him leaning on the cane. She could see the faint shadow of stubble along his sharp jaw, the slight imperfection of a tiny white scar bisecting his left eyebrow. He’d gotten that in Marseille, she remembered. He’d never said how. “We share information. We share the risk. We do not, under any circumstances, share a bed. Is that clear enough?” Crystal. Painfully so. The unspoken history hung between them: the late nights in archive rooms that blurred into too-much-whiskey in his minimalist flat, the charged silences, the one night of searing, complicated heat that had left them both colder than before. The professional respect that had curdled into personal hurt. He was drawing a line. Reinforcing it. “Perfectly,” she said, her voice a shard of ice. She turned away, walking to the window, peering down at the slick, empty street. “I’ll need the original tablets. And access to your decryption software.” “Everything is at my flat. We start tonight.” He moved towards the door, all business once more. “Be ready in one hour. Dress warmly. And practical.” “Where are you going?” “To make a call. Confirm the location of our mutual friends.” His hand was on the doorknob. He paused, turning his head slightly. The light caught his eyes, one light, one dark. “Aurora.” “What?” “Lock the chain. Even after I leave.” His voice was flat, devoid of inflection. “They know you live here. Or rather, they know Laila does. Your old name. Your old life has a scent.” The doorknob turned. He was gone. Rory stood frozen at the window, the page crumpling in her fist. The rain streaked the glass, blurring the world outside into a grey smear. One hour. One hour to decide if she was really going to step back into that darkness. To walk beside him again. Her gaze dropped to the table. The folio of photographs, the damning page with Evan’s name. And beside them, almost invisible against the dark wood, lay a single, small, glossy black card. No name, no number. Just a symbol she recognized: a stylized raven’s wing. Lucien’s personal calling card. A promise, and a warning. She picked it up. It was cool and smooth between her fingers. Behind her, Ptolemy meowed, a plaintive sound from under the desk. The clock ticked, each second an accusation, counting down the minutes she had left to pretend she was still ordinary. To pretend she wasn’t already burning the bridges back to her quiet, terrified life. She walked to the door and slid the three heavy bolts into place. One. Two. Three. The sound was final. A lock, not to keep him out, but to keep her in.
created_at"2026-04-24T15:42:22.616Z" 4/24/2026, 3:42:22 PM
model"xiaomi/mimo-v2.5-20260422"
app_id182717
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latency1274
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generation_time34274
tokens_prompt4556
tokens_completion2967
native_tokens_prompt4155
native_tokens_completion2503
native_tokens_completion_images(null)
native_tokens_reasoning250
native_tokens_cached4096
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
num_fetches(null)
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origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"stop"
usage0.00535728
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provider_responses
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endpoint_id"2af4bf94-26fa-42b9-bce0-8b11071e105a"
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is_byokfalse
latency1227
model_permaslug"xiaomi/mimo-v2.5-20260422"
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags18
adverbTagCount0
adverbTags(empty)
dialogueSentences46
tagDensity0.391
leniency0.783
rawRatio0
effectiveRatio0
79.33% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1693
totalAiIsmAdverbs7
found
0
adverb"softly"
count1
1
adverb"very"
count1
2
adverb"quickly"
count1
3
adverb"perfectly"
count1
4
adverb"warmly"
count1
5
adverb"slightly"
count1
6
adverb"really"
count1
highlights
0"softly"
1"very"
2"quickly"
3"perfectly"
4"warmly"
5"slightly"
6"really"
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)
58.65% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1693
totalAiIsms14
found
0
word"coded"
count1
1
word"familiar"
count2
2
word"echo"
count2
3
word"stomach"
count1
4
word"calculating"
count1
5
word"ensure"
count1
6
word"silence"
count1
7
word"eyebrow"
count1
8
word"crystal"
count1
9
word"unspoken"
count1
10
word"charged"
count1
11
word"searing"
count1
highlights
0"coded"
1"familiar"
2"echo"
3"stomach"
4"calculating"
5"ensure"
6"silence"
7"eyebrow"
8"crystal"
9"unspoken"
10"charged"
11"searing"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"blood ran cold"
count1
highlights
0"blood ran cold"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences115
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount3
narrationSentences115
filterMatches(empty)
hedgeMatches
0"managed to"
1"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences141
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen68
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1691
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions10
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions29
wordCount1132
uniqueNames10
maxNameDensity0.62
worstName"Rory"
maxWindowNameDensity1.5
worstWindowName"Lucien"
discoveredNames
French1
Moreau1
Eva2
Lucien6
Rory7
Evan5
Silence1
Marseille1
Ptolemy2
One3
persons
0"Moreau"
1"Eva"
2"Lucien"
3"Rory"
4"Evan"
5"Silence"
6"Ptolemy"
7"One"
places
0"Marseille"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences77
glossingSentenceCount1
matches
0"not-quite smile touched Lucien’s lips"
81.73% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.183
wordCount1691
matches
0"Not just a name, but a history, a scar deeper than the one on her wrist"
1"not to keep him out, but to keep her in"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences141
matches
0"chose that moment"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs44
mean38.43
std24.08
cv0.626
sampleLengths
050
123
23
343
426
568
69
788
823
947
1021
1168
1243
1349
1465
1529
1650
1727
1857
1921
2080
2117
2289
2366
2431
2515
2610
279
2837
2942
3010
3190
3257
3334
3426
354
3633
371
3834
396
4047
4154
4257
4332
99.16% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences115
matches
0"was slicked"
1"was gone"
52.67% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount4
totalVerbs181
matches
0"was shelving"
1"was already leaning"
2"was drawing"
3"wasn’t already burning"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount2
semicolonCount0
flaggedSentences1
totalSentences141
ratio0.007
matches
0"His heterochromatic gaze—one warm amber, one deep, starless black—fixed on her."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1140
adjectiveStacks1
stackExamples
0"single, small, glossy black card."
adverbCount45
adverbRatio0.039473684210526314
lyAdverbCount9
lyAdverbRatio0.007894736842105263
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences141
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences141
mean11.99
std10.25
cv0.855
sampleLengths
019
116
23
312
420
53
63
733
810
99
104
1113
1219
1326
1412
1511
169
1714
1817
1918
2032
217
228
2310
245
2528
2619
277
284
294
306
3130
324
3310
3424
3520
3614
379
3817
3921
4011
4129
4222
4314
4411
457
462
479
4818
4932
57.45% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats9
diversityRatio0.3829787234042553
totalSentences141
uniqueOpeners54
64.10% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences104
matches
0"Of course he knew."
1"Just a symbol she recognized:"
ratio0.019
20.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount52
totalSentences104
matches
0"She crossed the cramped living"
1"Her breath caught for a"
2"She pushed it down."
3"She unhooked the chain and"
4"His platinum blond hair was"
5"His heterochromatic gaze—one warm amber,"
6"He didn’t wait for an"
7"He stepped forward, and she"
8"He took in the chaos"
9"He unbuttoned his suit jacket"
10"He knew about that."
11"He pulled a slim, waterproof"
12"He did not sit."
13"He leaned on his cane,"
14"He flipped open the folio"
15"She leaned closer, her curiosity"
16"He slid a single, typed"
17"Her blood ran cold."
18"She didn’t touch the page."
19"his voice dropped, losing its"
ratio0.5
22.50% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount91
totalSentences104
matches
0"The knock was three sharp"
1"Rory’s fingers stilled on the"
2"Visitors didn’t happen."
3"She crossed the cramped living"
4"The chain stayed."
5"a voice answered, low and"
6"Her breath caught for a"
7"She pushed it down."
8"She unhooked the chain and"
9"Lucien Moreau stood framed in"
10"His platinum blond hair was"
11"The ivory handle of his"
12"His heterochromatic gaze—one warm amber,"
13"Rory said, her voice flat"
14"He didn’t wait for an"
15"He stepped forward, and she"
16"The scent of wet wool,"
17"He took in the chaos"
18"Rory folded her arms"
19"The scar on her left"
ratio0.875
96.15% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences104
matches
0"To walk beside him again."
1"To pretend she wasn’t already"
ratio0.019
89.29% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences40
technicalSentenceCount3
matches
0"Rory’s fingers stilled on the spine of the book she was shelving, her posture straightening instinctively."
1"Inside were high-resolution photographs of stone tablets, ancient script, and a crude charcoal rubbing of a symbol that made Rory’s skin prickle."
2"The unspoken history hung between them: the late nights in archive rooms that blurred into too-much-whiskey in his minimalist flat, the charged silences, the on…"
41.67% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags18
uselessAdditionCount3
matches
0"Rory said, her voice flat"
1"Rory muttered, her gaze flicking from the folio to his face"
2"she said, her voice a shard of ice"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags5
fancyCount1
fancyTags
0"Rory muttered (mutter)"
dialogueSentences46
tagDensity0.109
leniency0.217
rawRatio0.2
effectiveRatio0.043
85.2231%