Run: 2026-04-24-01KQ05H7K2TDTT2RZSMQZYB6ZM

Run Details

Duration:
28.3s
Cost:
$0.005095
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 door chain rattled against its socket. Not the loose, familiar rattle of the delivery guy from downstairs, but a firm, metallic clink that spoke of intention. Aurora Carter froze, half-risen from the floor where she’d been sorting through Eva’s scattered notes. Ptolemy, the tabby, arched his back in a perfect, hostile crescent on the bookshelf. She didn’t call out. The flat above the Brick Lane curry house had three deadbolts for a reason, but none of them had been thrown. The scent of cardamom and frying onions from the restaurant below did little to mask the other smell now drifting up the stairwell: expensive cologne, clean rain, and something else, something faintly metallic and ancient, like ozone after a lightning strike. The chain caught, leaving the door open a crack. A slice of the dim, yellow hallway light fell across the cramped interior, illuminating dust motes. Then, an ivory-handled cane tapped twice against the floorboards, a precise, authoritative sound. “Rory.” The voice was the same. Low, accented, a blend of Marseille grit and London polish that still did disconcerting things to her pulse. She closed her eyes for a fraction of a second. *Not now. Not here.* She moved to the door, her socked feet silent on the worn rug. Peering through the gap, she saw charcoal wool, the crisp line of a suit jacket, and one eye. One bright, amber eye. The other was lost in shadow, but she knew it was black, a void that drank the light. Heterochromatic. Half-demon. Entirely unwelcome. “Lucien.” “May I?” The cane tapped again. A question, not a request. Aurora’s fingers hesitated on the chain. A thousand reasons to say no screamed in her head. The last time she’d seen him, she’d thrown a drink in his face and called him a soulless bastard in three languages, only two of which he’d actually taught her. He’d simply dabbed his cheek with a handkerchief, smiled, and told her her pronunciation in Flemish was improving. She unhooked the chain. The door swung inward. Lucien Moreau filled the small entryway. He hadn’t changed. The platinum blond hair was slicked back, not a strand out of place. The suit was tailored within an inch of its life, the waistcoat a subtle charcoal check. He leaned on his cane, the ivory handle worn smooth by his grip. His gaze swept the flat—the precarious towers of books, the scrolls half-unrolled across the table, the curry-stained takeaway containers in the bin—with the cool assessment of an appraiser valuing a condemned property. His amber eye met hers. “The lock is inadequate,” he said, his tone conversational. “A half-decent crowbar would defeat all three bolts in under ten seconds.” “Good thing I don’t own a crowbar.” She didn’t move to let him in further. “What do you want?” “A moment of your time. An update on a mutual concern.” He stepped past her, a subtle but definite invasion of space. He smelled of rain and cold stone now, closer. He didn’t wait for an invitation, moving to the centre of the room, his cane avoiding the precarious stacks with innate grace. Ptolemy hissed, a low, vibrating sound. Lucien merely glanced at him. “Still cross, I see.” “What mutual concern?” Aurora shut the door, the click of the latch sounding final. She crossed her arms, the familiar defensive posture settling over her like a second skin. “We don’t have mutual concerns. We have you turning up unannounced, which usually means trouble has already arrived and is sitting on the sofa.” He almost smiled. The corner of his mouth twitched. “Trouble is relative. I prefer ‘complication’.” He nodded towards the table, towards a specific scroll covered in Eva’s frantic handwriting. “You’ve been looking into the Enochian ledger for your friend.” It wasn’t a question. Cold dread, familiar and unwelcome, trickled down her spine. She kept her face blank. “Eva’s research is her own.” “And you are helping her. From the safety of this… cosy burrow.” He traced a finger along the spine of a heavy tome on demonology. “A burrow that is now, thanks to that research, quite visible. To parties who do not appreciate amateurs delving into their ledgers.” “My flat’s visibility is my problem.” “Your problem became mine the moment your name entered the index of a certain auction house.” He turned, his black eye now catching the light, a bottomless pit. “There is a sale next week. In a cellar beneath a Chelsea townhouse. An item is on the lot that Eva requires. It is also an item that will paint a target on whichever foolish person attempts to acquire it.” He paused, letting the weight of it settle. “The target has, through a delightful coincidence of association, shifted to encompass you.” Aurora’s mind raced, tripping over the implications. “How do you know what Eva needs?” “I am a fixer, Rory. Knowing what people need, and what they are willing to pay for it, is the entirety of my profession.” He adjusted his cufflink. “The question is not how I know. The question is whether you will let your academic friend blunder into a nest of vipers armed with nothing but footnotes, or whether you will allow someone with… relevant experience to intervene.” “You want to help.” She stated it flatly, a refusal already forming. Lucien didn’t help. He bargained. He leveraged. He collected debts that festered like untreated wounds. “I want to prevent a mess that would inconveniently affect my own interests.” He moved towards the window, peering down at the bustling Brick Lane market, the evening crowd thronging below. The neon sign of the curry house pulsed red and green on his sharp features. “The seller of the ledger is a demon named Kael. He deals in souls, contracts, and other such ephemera. He does not appreciate non-payment. He appreciates it even less when potential buyers are… compromised.” He glanced back at her. “Your ex-boyfriend, Evan, recently sold a contract to Kael. A contract that, due to a rather pathetic oversight on his part, lists you as collateral.” The air left Aurora’s lungs. It wasn’t surprise. It was the sickening, heavy confirmation of a fear she’d carried since fleeing Cardiff. That Evan’s cruelty wasn’t confined to the physical, that his spite had longer, nastier claws. “Collateral,” she repeated, the word tasting like ash. “A charming legalistic flourish. Meaning, should Evan default—which he will, the man is spectacularly inept—Kael will come to collect.” Lucien turned fully from the window. “In this case, ‘collect’ likely means selling your debt, your name, your very existence, to the highest bidder. The ledger Eva seeks details the original terms. It is, in essence, the only copy. Destroying it would be… wise.” A knock rattled the door. Both of them stilled. Ptolemy’s hiss died in his throat, replaced by a low growl. Aurora’s gaze darted to Lucien. His expression hadn’t changed, but a new tension had entered his shoulders, a coiled readiness. His hand rested on the head of his cane. Another knock. Louder this time. Insistent. Aurora moved to the door, Lucien’s words a toxic hum beneath her skin. She checked the peephole. A face distorted by the fish-eye lens filled the view. Broad, unfamiliar, pockmarked skin, eyes that held a dull, brutish glint. Not one of the neighbours. Not a delivery person. He wasn’t holding anything. His knuckles were white against the wood. She didn’t open it. She turned, her back pressed against the cool wood, and looked at Lucien. His amber eye was bright with something that might have been amusement, or might have been pity. He gave a small, almost imperceptible shrug. “What?” she mouthed, her voice a tight whisper. He gestured with his chin towards the door. “It seems, ma chérie,” he said, his voice a low murmur that carried across the small space, “the complications have arrived ahead of schedule.” The man outside knocked again, a heavy, final-sounding thud that vibrated through the door and into Aurora’s spine. He knew she was there. He knew she was listening. Lucien’s smile didn’t reach his eyes. He tapped his cane once, softly, on the floor. “Now,” he said, the word a dark promise. “Perhaps we can discuss terms.”
created_at"2026-04-24T16:35:26.45Z" 4/24/2026, 4:35:26 PM
model"xiaomi/mimo-v2.5-20260422"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency834
moderation_latency(null)
generation_time28177
tokens_prompt4556
tokens_completion2804
native_tokens_prompt4155
native_tokens_completion2372
native_tokens_completion_images(null)
native_tokens_reasoning509
native_tokens_cached4096
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
num_fetches(null)
web_search_engine(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"stop"
usage0.00509528
router(null)
provider_responses
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endpoint_id"2af4bf94-26fa-42b9-bce0-8b11071e105a"
id"cb812b49282947ef89c4e1effed07af6"
is_byokfalse
latency798
model_permaslug"xiaomi/mimo-v2.5-20260422"
provider_name"Xiaomi"
status200
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api_type"completions"
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total_cost0.00509528
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Evaluation details

Result Evaluator Details Meta Data
33.33% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags18
adverbTagCount3
adverbTags
0"The cane tapped again [again]"
1"He glanced back [back]"
2"Lucien turned fully [fully]"
dialogueSentences34
tagDensity0.529
leniency1
rawRatio0.167
effectiveRatio0.167
92.71% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1372
totalAiIsmAdverbs2
found
0
adverb"very"
count1
1
adverb"softly"
count1
highlights
0"very"
1"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)
41.69% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1372
totalAiIsms16
found
0
word"familiar"
count3
1
word"perfect"
count1
2
word"pulse"
count1
3
word"down her spine"
count1
4
word"traced"
count1
5
word"delving"
count1
6
word"weight"
count1
7
word"raced"
count1
8
word"pulsed"
count1
9
word"potential"
count1
10
word"tension"
count1
11
word"glint"
count1
12
word"whisper"
count1
13
word"vibrated"
count1
highlights
0"familiar"
1"perfect"
2"pulse"
3"down her spine"
4"traced"
5"delving"
6"weight"
7"raced"
8"pulsed"
9"potential"
10"tension"
11"glint"
12"whisper"
13"vibrated"
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
narrationSentences101
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences101
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences117
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen48
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords4
totalWords1368
ratio0.003
matches
0"Not now. Not here."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions9
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions32
wordCount943
uniqueNames13
maxNameDensity0.85
worstName"Aurora"
maxWindowNameDensity2
worstWindowName"Aurora"
discoveredNames
Carter1
Eva2
Brick2
Lane2
Marseille1
London1
Flemish1
Moreau1
Aurora8
Lucien8
Cardiff1
Evan1
Ptolemy3
persons
0"Carter"
1"Eva"
2"Moreau"
3"Aurora"
4"Lucien"
5"Evan"
6"Ptolemy"
places
0"Brick"
1"Lane"
2"Marseille"
3"London"
4"Flemish"
5"Cardiff"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences62
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.731
wordCount1368
matches
0"Not the loose, familiar rattle of the delivery guy from downstairs, but a firm, metallic clink"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences117
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs39
mean35.08
std26.53
cv0.756
sampleLengths
027
129
266
338
41
537
657
71
811
964
108
1183
125
1321
1419
1568
1653
1739
1823
1947
206
2189
2214
2367
2427
25110
2637
278
2863
295
3044
316
3258
3317
3424
358
3632
3728
3828
91.37% Passive voice overuse
Target: ≤2% passive sentences
passiveCount4
totalSentences101
matches
0"been thrown"
1"was lost"
2"was slicked"
3"was tailored"
64.86% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs148
matches
0"was improving"
1"wasn’t holding"
2"was listening"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount2
semicolonCount0
flaggedSentences1
totalSentences117
ratio0.009
matches
0"His gaze swept the flat—the precarious towers of books, the scrolls half-unrolled across the table, the curry-stained takeaway containers in the bin—with the cool assessment of an appraiser valuing a condemned property."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount952
adjectiveStacks0
stackExamples(empty)
adverbCount24
adverbRatio0.025210084033613446
lyAdverbCount9
lyAdverbRatio0.009453781512605041
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences117
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences117
mean11.69
std9.7
cv0.83
sampleLengths
07
120
215
314
44
521
641
79
816
913
101
115
1218
1310
142
152
1613
1718
184
1918
201
211
222
231
246
255
266
2710
2830
2918
304
314
326
333
3413
3516
3613
3732
385
399
4012
4115
424
4322
449
4522
466
475
484
4914
49.29% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats14
diversityRatio0.36752136752136755
totalSentences117
uniqueOpeners43
36.23% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences92
matches
0"Then, an ivory-handled cane tapped"
ratio0.011
20.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount46
totalSentences92
matches
0"She didn’t call out."
1"She closed her eyes for"
2"She moved to the door,"
3"He’d simply dabbed his cheek"
4"She unhooked the chain."
5"He hadn’t changed."
6"He leaned on his cane,"
7"His gaze swept the flat—the"
8"His amber eye met hers."
9"he said, his tone conversational"
10"She didn’t move to let"
11"He stepped past her, a"
12"He smelled of rain and"
13"He didn’t wait for an"
14"She crossed her arms, the"
15"He almost smiled."
16"He nodded towards the table,"
17"It wasn’t a question."
18"She kept her face blank."
19"He traced a finger along"
ratio0.5
14.35% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount82
totalSentences92
matches
0"The door chain rattled against"
1"Aurora Carter froze, half-risen from"
2"Ptolemy, the tabby, arched his"
3"She didn’t call out."
4"The flat above the Brick"
5"The scent of cardamom and"
6"The chain caught, leaving the"
7"A slice of the dim,"
8"The voice was the same."
9"She closed her eyes for"
10"She moved to the door,"
11"The other was lost in"
12"The cane tapped again"
13"A question, not a request."
14"Aurora’s fingers hesitated on the"
15"A thousand reasons to say"
16"The last time she’d seen"
17"He’d simply dabbed his cheek"
18"She unhooked the chain."
19"The door swung inward."
ratio0.891
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences92
matches(empty)
ratio0
53.57% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences32
technicalSentenceCount4
matches
0"Not the loose, familiar rattle of the delivery guy from downstairs, but a firm, metallic clink that spoke of intention."
1"He didn’t wait for an invitation, moving to the centre of the room, his cane avoiding the precarious stacks with innate grace."
2"Broad, unfamiliar, pockmarked skin, eyes that held a dull, brutish glint."
3"The man outside knocked again, a heavy, final-sounding thud that vibrated through the door and into Aurora’s spine."
13.89% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags18
uselessAdditionCount4
matches
0"he said, his tone conversational"
1"Aurora shut, the click of the latch sounding final"
2"She stated, a refusal already forming"
3"she mouthed, her voice a tight whisper"
61.76% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags6
fancyCount3
fancyTags
0"She stated (state)"
1"she repeated (repeat)"
2"she mouthed (mouth)"
dialogueSentences34
tagDensity0.176
leniency0.353
rawRatio0.5
effectiveRatio0.176
75.7687%