Run: 2026-04-24-01KQ079ZWGVAF6QEP7XRBWQGYS

Run Details

Duration:
38.5s
Cost:
$0.006232
Provider:
Xiaomi

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 crack of knuckles against the jukebox silenced the faltering guitar solo mid-note. Three heads swivelled towards the sound. None of them Michael’s. “Bloody thing’s been skipping since ‘92,” the bartender muttered, not looking up from the glass he was polishing. “Kick it again if you like. Sometimes works.” Michael didn’t kick it. He turned back to his pint, the condensation forming a perfect, cold ring on the scarred wooden bar top. The pub, The Raven’s Nest, was a place of deliberate shadows. Muted green neon bled through the front window, painting everything in hues of sickness and money. Maps of places no one in their right mind would visit covered the walls alongside black-and-white photographs of men who looked like they’d seen places no one in their right mind would forget. It was the kind of place you went to disappear. Which made it, ironically, the perfect place to be found. The stool to his left scraped against the floor. Michael didn’t look up. “Michael bloody Davies.” The voice was a ghost, but one with gravel in its lungs. Michael’s hand tightened on his glass. He knew that voice. He’d last heard it shouting a warning over the thrum of a helicopter rotor in a country that no longer existed on most maps. He turned his head slowly. The man sitting beside him was a ruin of the boy he remembered. Jack Rourke. His childhood friend. His partner in every schoolyard crime and, later, in darker ventures that had no name. But the boy’s lean, quicksilver energy had been beaten into a heavy, sullen mass. One eye was a dull, milky pale where the other burned with a familiar, dangerous light. A web of scar tissue crept from his temple into a scalp of thin, greying hair. He wore a coat that had seen too many winters and a shirt that had missed too many washings. “Jack,” Michael said. The name felt foreign on his tongue. “Jesus.” “Didn’t expect the name to ring a bell. Thought you’d be well past remembering us common folk.” Jack signalled the bartender without looking, a flick of two fingers. “Whiskey. The cheap stuff that bites back.” Michael watched the bartender pour. “You look…” “Terrible? Rough? Like I’ve been chewing on gravel and swallowing lightning?” Jack took the glass and drained half of it in one gulp. A shudder ran through him. “You can say it. I own a mirror. It’s a bastard, but I own it.” “It’s been twelve years, Jack.” “Thirteen. Not that I’m counting.” The good eye fixed on Michael’s suit. It was Savile Row, but the fabric was thin at the elbows, the lapels frayed. A uniform for a career that was winding down, not up. “Still playing the part, I see. Michael Davies, solicitor to the discreet and morally flexible. Your old man must be proud.” The dig landed, as Jack’s always did, with surgical precision. Michael took a slow sip of his pint. The ale was bitter, flat. “He passed. Four years ago.” Something flickered in Jack’s gaze. A brief, almost imperceptible softening. “Sorry to hear that. He was a good man. Strict, but good. Didn’t deserve a son who ran off to play spy games with the likes of me.” “That’s not what happened, and you know it.” “Do I?” Jack’s laugh was a dry, rasping thing. “Seems to me one day we’re nicking copper pipes from the construction site on the docks, the next you’re off to university with a pat on the back and a trust fund, and I’m… here.” He gestured vaguely at the grimy pub, at himself. “Here.” “You went off the grid. After Prague.” Jack’s good eye narrowed. “Prague was your operation, Michael. Your contact. Your intel that went sideways. Or have you forgotten the part where you left me in a cellar to rot while you got extracted by your chums in the Embassy?” The accusation, old and festering, hung in the stale air between them. “They said you were dead. The report said you were compromised and executed.” “And you believed it? You, of all people?” Jack leaned closer. The smell of cheap whiskey and old sweat was overpowering. “You didn’t come looking. You didn’t send a whisper. You took the promotion and the commendation and you buried me. That’s the truth of it.” Michael placed his glass down carefully. The truth was a shard of glass he’d swallowed years ago. It had never stopped cutting. “I tried. After. When the dust settled, I tried to find out what really happened. The files were sealed. My clearance was revoked. I was told to forget it.” “Convenient.” “It wasn’t a choice!” The words came out sharper than he intended, drawing a glance from a lone drinker in a dark booth. Michael lowered his voice. “They made it very clear. My career, my future. My family. If I kept digging into the ‘Rourke Incident’.” “And so you didn’t dig.” “No. I didn’t.” Silence stretched. The jukebox, having recovered, began playing a mournful country song about lost highways and wasted lives. Jack traced a circle in the condensation on his own glass. “You married that girl. Sarah, was it? The one with the annoying laugh.” “Divorced. Five years ago.” “Kids?” “A son. Thomas. He’s eight.” Michael’s voice softened. “He’s in boarding school. Hates it.” “Of course he does. Rich kids’ prisons.” Jack finished his whiskey and signalled for another. “I’ve got a daughter. Lily. She’s six. Lives with her mum in a flat in Brixton that’s got more mould than wallpaper. I see her on Tuesdays. When I can.” The image was so incongruous with the hard, broken man beside him that Michael struggled to reconcile it. Jack Rourke, a father. Changing nappies, reading stories. It seemed a cruel joke. “You look well,” Jack said, his tone shifting, becoming appraising. “Tired, but well. Like a man who’s spent too long staring at spreadsheets and not enough time breathing. Which brings me to why I’m really here.” “I assumed this wasn’t a social call.” “Smart. Still got those instincts.” Jack leaned in again, his voice dropping to a conspiratorial whisper. “I need your help. The old-fashioned kind. The kind that doesn’t involve you wearing a suit and asking people to ‘think of the consequences’.” “I’m a commercial lawyer, Jack. I draft mergers and acquisitions.” “And you used to be able to pick a deadbolt in under twenty seconds. Skills atrophy, Michael. But they don’t disappear.” He slid a folded piece of paper across the sticky bar top. “I need you to look at this. Tell me if it’s worth what I’m told it’s worth.” Michael unfolded it. It was a photograph, creased and worn at the edges. It showed a small, intricate painting. A pre-Raphaelite study of a woman’s hands, clasped in prayer. The style was unmistakable. “Where did you get this?” Michael’s voice was tight. “It came to me. Through channels. I need to know if it’s the real article, and what the market value would be. Quietly.” “Jack, this is…” Michael stared at the image. He knew the painting. He’d seen it once, years ago, in his father’s study. A private acquisition. A piece that was never meant to see the light of day. “This is stolen. This was part of the Ashworth collection. It was taken in a raid a decade ago. The insurance claim was one of the largest in British history.” Jack’s grin was all teeth and no humour. “Stolen is a strong word. I prefer ‘reallocated.’ So. It’s the real one, then?” “It’s one of three that were never recovered. If this gets out, if you’re connected to this…” “If I’m connected, I’m fucked. I know. That’s why I need a man who knows the law to tell me how fucked, and how to avoid the worst of it. This is my ticket, Michael. Not enough to retire to the bloody Bahamas, but enough to get Lily out of that mouldy flat. Enough to give her something that isn’t a hand-me-down ghost story.” Michael looked at his old friend. The desperate, hungry glint in his good eye. The way his scarred hands trembled slightly around his glass. This wasn’t the reckless boy he’d run with. This was a man with everything to lose and nothing left to risk. The weight of their shared past, of Prague, of the silence, pressed down on him. He could still walk away. Return to his quiet, orderly life of diminishing returns and lonely business dinners. He could protect his fragile, carefully constructed world. Or he could help the ghost of his best friend. He slid the photograph back across the bar. His voice was low, steady. It was the voice he used in boardrooms when a deal was about to collapse. “The provenance is toxic. If you try to sell it through any legitimate channel, you’ll be in handcuffs within a week. But…” He paused, choosing his words like a surgeon selecting a scalpel. “There are private collectors. Discreet ones. People who appreciate art that can’t be displayed in public. The markup is significant, and the risk is higher. But the payoff…” Jack’s good eye locked onto his. The air crackled. The jukebox song ended, leaving a ringing silence. “Are you offering to be my broker, Michael?” The question was a loaded gun, pointing at both of them. Michael thought of his son, in his hated school uniform, learning to be polite and empty. He thought of his father’s portrait, watching him from the wall of his office, its expression one of perpetual, weary disappointment. He thought of the sound of a helicopter rotor, and a name shouted into the dark. He slid his empty glass towards the bartender. “I’m offering to make a few calls. To old clients who deal in… private acquisitions. To see if there’s an appetite.” Jack stared at him for a long moment. Then he let out a slow breath, a sound that held thirteen years of bitterness and a sliver of something that might have been hope. “Right then.” He signalled for two more whiskeys. The bartender obliged without a word. “Let’s have a drink to old times, then. And to the new ones.” He raised his glass. Michael raised his. The green neon light caught the amber liquid, making it glow like poisoned honey. Outside, a siren wailed, growing louder, closer. The sound cut through the pub’s murmur, a sharp, rising note that promised someone, somewhere, was about to have their night ruined. The glass slipped from Jack’s fingers. It hit the floor and shattered, spraying whiskey and shards of glass across the worn floorboards. But Jack wasn’t looking at the mess. He was staring, rigid, at the front door. A man had stepped inside, letting in a gust of cold night air. He was tall, broad, wearing a suit that was far more expensive than Michael’s, and his eyes were scanning the room with the flat, methodical patience of a predator. Jack’s good eye met Michael’s. The desperation was gone, replaced by pure, undiluted fear. “Michael,” he whispered, his voice stripped bare. “They found me.”
created_at"2026-04-24T17:06:26.335Z" 4/24/2026, 5:06:26 PM
model"xiaomi/mimo-v2.5-20260422"
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tokens_prompt4618
tokens_completion3542
native_tokens_prompt4214
native_tokens_completion2939
native_tokens_completion_images(null)
native_tokens_reasoning479
native_tokens_cached4160
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num_input_audio_prompt(null)
num_media_completion0
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags18
adverbTagCount1
adverbTags
0"He gestured vaguely [vaguely]"
dialogueSentences60
tagDensity0.3
leniency0.6
rawRatio0.056
effectiveRatio0.033
81.19% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1861
totalAiIsmAdverbs7
found
0
adverb"slowly"
count1
1
adverb"carefully"
count2
2
adverb"really"
count2
3
adverb"very"
count1
4
adverb"slightly"
count1
highlights
0"slowly"
1"carefully"
2"really"
3"very"
4"slightly"
60.00% AI-ism character names
Target: 0 AI-default names (16 tracked, −20% each)
codexExemptions
0"Blackwood"
found
0"Lily"
1"Sarah"
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
48.95% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1861
totalAiIsms19
found
0
word"perfect"
count2
1
word"familiar"
count1
2
word"flickered"
count1
3
word"whisper"
count2
4
word"silence"
count3
5
word"traced"
count1
6
word"intricate"
count1
7
word"glint"
count1
8
word"trembled"
count1
9
word"weight"
count1
10
word"constructed"
count1
11
word"shattered"
count1
12
word"scanning"
count1
13
word"methodical"
count1
14
word"predator"
count1
highlights
0"perfect"
1"familiar"
2"flickered"
3"whisper"
4"silence"
5"traced"
6"intricate"
7"glint"
8"trembled"
9"weight"
10"constructed"
11"shattered"
12"scanning"
13"methodical"
14"predator"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells1
narrationSentences115
matches
0"was bitter"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences115
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences155
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen66
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1861
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions10
unquotedAttributions0
matches(empty)
0.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions46
wordCount1096
uniqueNames8
maxNameDensity1.82
worstName"Michael"
maxWindowNameDensity5
worstWindowName"Jack"
discoveredNames
Michael20
Raven1
Nest1
Rourke2
Savile1
Row1
Jack19
Prague1
persons
0"Michael"
1"Raven"
2"Rourke"
3"Jack"
places
0"Prague"
globalScore0.588
windowScore0
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences81
glossingSentenceCount1
matches
0"looked like they’d seen places no one in"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.537
wordCount1861
matches
0"Not enough to retire to the bloody Bahamas, but enough to get Lily out of"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences155
matches
0"knew that voice"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs61
mean30.51
std22.42
cv0.735
sampleLengths
023
126
283
320
413
53
646
7103
811
935
107
1143
125
1359
1428
1538
168
1754
187
1941
2025
2146
2251
231
2446
255
263
2729
2813
294
301
3114
3245
3331
3436
357
3640
3710
3850
3933
409
4123
4267
4322
4417
4564
4686
4710
4828
4961
99.16% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences115
matches
0"been beaten"
1"was gone"
11.68% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount5
totalVerbs177
matches
0"was polishing"
1"was winding"
2"wasn’t looking"
3"was staring"
4"were scanning"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences155
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1099
adjectiveStacks0
stackExamples(empty)
adverbCount25
adverbRatio0.022747952684258416
lyAdverbCount8
lyAdverbRatio0.007279344858962694
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences155
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences155
mean12.01
std9.34
cv0.778
sampleLengths
013
16
24
318
48
54
619
711
816
933
1010
1110
129
134
143
1512
166
174
1824
195
2013
212
223
2315
2414
2516
2616
2719
283
297
301
3128
327
335
342
3523
365
3715
385
3912
4015
4111
4221
4310
448
455
465
475
485
4928
49.03% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats14
diversityRatio0.34838709677419355
totalSentences155
uniqueOpeners54
29.76% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences112
matches
0"Then he let out a"
ratio0.009
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount32
totalSentences112
matches
0"He turned back to his"
1"It was the kind of"
2"He knew that voice."
3"He’d last heard it shouting"
4"He turned his head slowly."
5"His childhood friend."
6"His partner in every schoolyard"
7"He wore a coat that"
8"It was Savile Row, but"
9"He gestured vaguely at the"
10"It had never stopped cutting."
11"It seemed a cruel joke."
12"He slid a folded piece"
13"It was a photograph, creased"
14"It showed a small, intricate"
15"He knew the painting."
16"He’d seen it once, years"
17"He could still walk away."
18"He could protect his fragile,"
19"He slid the photograph back"
ratio0.286
9.11% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount101
totalSentences112
matches
0"The crack of knuckles against"
1"None of them Michael’s."
2"the bartender muttered, not looking"
3"Michael didn’t kick it."
4"He turned back to his"
5"The pub, The Raven’s Nest,"
6"Maps of places no one"
7"It was the kind of"
8"The stool to his left"
9"Michael didn’t look up."
10"The voice was a ghost,"
11"Michael’s hand tightened on his"
12"He knew that voice."
13"He’d last heard it shouting"
14"He turned his head slowly."
15"The man sitting beside him"
16"His childhood friend."
17"His partner in every schoolyard"
18"A web of scar tissue"
19"He wore a coat that"
ratio0.902
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences112
matches(empty)
ratio0
93.02% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences43
technicalSentenceCount3
matches
0"Maps of places no one in their right mind would visit covered the walls alongside black-and-white photographs of men who looked like they’d seen places no one i…"
1"Then he let out a slow breath, a sound that held thirteen years of bitterness and a sliver of something that might have been hope."
2"He was tall, broad, wearing a suit that was far more expensive than Michael’s, and his eyes were scanning the room with the flat, methodical patience of a preda…"
41.67% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags18
uselessAdditionCount3
matches
0"Jack signalled, a flick of two fingers"
1"Jack said, his tone shifting, becoming appraising"
2"Jack leaned, his voice dropping to a conspiratorial whisper"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags4
fancyCount2
fancyTags
0"the bartender muttered (mutter)"
1"he whispered (whisper)"
dialogueSentences60
tagDensity0.067
leniency0.133
rawRatio0.5
effectiveRatio0.067
77.4524%