Run: 2026-04-24-01KQ09JAJDJ5WXY8SFE3ZX5DJW

Run Details

Duration:
32.5s
Cost:
$0.005590
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 smell of vinegar and old malt vinegar clung to Rory’s jacket as she pushed through the door of The Raven’s Nest. The thick, sweet tang of Yu-Fei’s five-spice duck fat still clung to her hands, a phantom warmth against the bar’s chill. She scanned the dim room, her eyes adjusting to the low light that pooled over scarred wooden tables and walls cluttered with framed, sepia maps of forgotten cities. The lunchtime rush had subsided, leaving only a pair of suited men hunched over a corner booth and old Tom, the retired printer, asleep with his pint at the bar. “Rory.” Silas’ voice cut through the low murmur of a jazz record. He didn’t look up from the glass he was polishing, his large hands moving with a slow, deliberate economy. “You’re late. Yu-Fei called. Something about a wrong address?” “Number 17, not 7.” She shrugged off her jacket, the thin material offering little defense against the bar’s persistent cold. “The woman at number 7 was delighted with the duck. Tipped me a tenner.” Silas grunted, a sound that might have been approval or reproach. He set the glass down and finally looked at her, his hazel eyes taking in the flour dust on her sleeve and the tight line of her jaw. “You look like you’ve wrestled the goose yourself.” “It was a particularly philosophical duck.” She slid onto her usual stool, the leather cracked and cool against her thighs. “It had a lot to say about the futility of consumption.” A corner of Silas’ mouth twitched. Before he could respond, the door opened again, letting in a slice of grey London afternoon and a figure that made the air in Rory’s lungs seize. The man who stepped in was tall, broad across the shoulders, wearing a well-cut coat that seemed too heavy for the season. His hair was shorter, cropped close to his scalp, and a sharp, new scar bisected his left eyebrow. But it was the way he stood, feet planted, assessing the room with a gaze that swept the corners and shadows before settling on the bar, that froze her. It was a posture she’d last seen in the chaotic aftermath of a rain-slicked street in Cardiff, three years ago. Her stool scraped against the floorboards as she stood, a motion so sudden it drew Silas’s sharp attention. “Eva?” The name left her lips, unbidden, a ghost from another life. The man’s head turned. For a heartbeat, his expression was a blank, hardened mask. Then, recognition flickered, and something complex, something pained and guarded, moved behind his eyes. A slow, crooked smile—one she knew better than her own reflection—tugged at his mouth. It didn’t reach his eyes. “Rory,” he said. His voice was deeper, rougher, as if scraped over gravel. “Fancy finding you in a place like this.” He crossed the floor in three long strides, each one a hammer blow against the fragile silence. He didn’t move to hug her. He stopped an arm’s length away, his hands shoved deep in his coat pockets. Up close, the changes were brutal. The softness she remembered around his jaw had been honed away to hard angles. His eyes, once a warm, open brown, were now flat and assessing, the colour of wet earth. “You look…” He let his gaze travel over her, lingering on the crescent scar on her wrist, peeking from her rolled sleeve. “Different.” “So do you,” she managed. Her heart hammered against her ribs, a frantic, trapped thing. This wasn’t the Eva she’d fled London for, the friend whose desperate text—*He’s here. Get out.*—had catapulted her from one life into another. This man was a stranger wearing a familiar face. Silas placed two tumblers on the bar, the sound of glass on wood unnaturally loud. He poured a measure of amber liquid into each, his movements unhurried. “The usual, Rory. And for your friend?” “Whiskey. Neat.” The man, this new Eva, didn’t break eye contact with her. They took their drinks to a small, round table in the far corner, tucked away from the windows. The maps on the wall above them showed the Ottoman Empire in faded reds and greens. Eva sat with his back to the wall, a habit he’d never had before. Rory noticed his hands when they finally emerged from his pockets. The knuckles were thicker, the fingers calloused, a thin white line tracing the tendon on his right hand. “I thought you were in Bristol,” she said, her voice steadier than she felt. “With your cousin.” A dry chuckle. “Plans change.” He took a swallow of whiskey, not flinching. “Bristol got… complicated. You? Still slinging takeaways for the old dragon?” The casual cruelty in his tone was a slap. “Yu-Fei is a good boss. And it pays the rent.” She took a sip of her own drink, the smoky taste coating her tongue. “Silas is a good landlord.” Eva’s eyes slid to the bar, where Silas was now wiping down the counter, his movements precise. The grey-streaked man moved with a stillness that was more intimidating than any overt action. “Silas,” he repeated, the name tasting foreign. “He looks like he collects old secrets.” “He collects old maps.” Rory kept her gaze fixed on her glass, on the distorted reflection of the green neon sign outside. “And good whiskey.” Silence stretched between them, filled by the low jazz and the clink of Tom’s glass as he shifted in his sleep. The easy camaraderie they’d shared, the shorthand of a friendship forged in childhood libraries and teenage rebellions, was gone, burned away. In its place was this wary distance, this careful examination of the person the other had become. “Why are you really here, Eva?” she finally asked, looking up. “You don’t just ‘run into’ people in a place like this. Not anymore. You don’t move like you’re just passing through.” His smile didn’t reach his eyes. He traced a ring of condensation on the table with a fingertip. “Maybe I heard you were in trouble. Old times.” “Old times are dead.” Her voice was flat. “I left that life. I left *him*.” “And it looks like you landed on your feet.” His gaze flickered again to Silas, then around the bar’s interior, the hidden corners, the worn elegance. “This is a soft landing. Safer than you deserve.” The accusation hung in the air, unspoken but loud. *You ran. You left me to clean up the mess.* “The mess you made, Eva. The one with your brother, the debt, the people you borrowed from. The people who came for me because I was your friend.” Her knuckles whitened around her glass. “That mess.” He leaned forward, his voice dropping to a low, intense murmur that was nothing like his old laugh. “My brother is dead, Rory. Slit his own wrists in a Bath hotel room six months after you vanished. The people he owed didn’t care. They just cared about the names he’d written down. Your name. My name.” He paused, letting the weight of it settle. “Cleaning up that mess is what I do now.” Rory’s breath caught. She thought of Eva, her friend, crying on her shoulder about his brother’s gambling. She thought of the frantic, terrified texts. She’d imagined him somewhere, struggling, but whole. Not this hollowed-out stranger with dead eyes and scarred hands. “I’m sorry,” she whispered, and the words felt inadequate, small. “Don’t be.” He leaned back, the moment of raw intensity vanishing behind a mask of indifference. “It made me useful. To people who can make problems disappear. And to people who need them made.” He took another drink. “I’m in London for a while. Handling some business.” “What kind of business?” “The kind you don’t ask about in places like this.” He gestured vaguely at the bar, at Silas, at the weight of unspoken history in the room. “The kind that requires a quiet drink in a back-alley bar run by a man who looks like he’s seen the whole world burn and decided to pour the drinks himself.” Rory felt a chill that had nothing to do with the temperature. She looked at this man, this echo of her friend, and saw the abyss that had opened between their past and present. The regret she carried wasn’t just for leaving, but for the person he’d become because she did. “The flat I live in,” she said, her voice low. “It’s above this bar. Silas’s building.” Eva’s eyes sharpened, all pretence of casualness gone. He studied her, his gaze intense. “So you’re protected.” “I’m independent. There’s a difference.” “Is there?” His gaze drifted again to Silas, who was now watching them with quiet, knowing eyes from behind the bar. The two men’s gazes met for a long moment. Eva’s jaw tightened almost imperceptibly. “He’s the reason you’re safe. That old spymaster with his maps and his silver ring. He’s got the look.” A cold dread pooled in Rory’s stomach. “What look?” “The look of a man who knows where all the bodies are buried. Sometimes literally.” He turned back to her, his expression unreadable. “It’s a dangerous look to be around, Rory. For you. For anyone close to him.” Before she could form a reply, the door to the street opened again. Not a customer this time. Two men stepped in, their movements synchronised, their coats open despite the chill. They weren’t looking at the menu. Their eyes scanned the room and locked, with unerring accuracy, on their table. Eva didn’t tense. He simply placed his glass down with a soft click. The crooked smile returned, but it was cold, predatory. “Well,” he said, his voice a low thread of sound. “Speak of the devil.” Rory followed his gaze. The two men were moving towards them, parting around the sleeping Tom like water around a stone. One of them, the taller with a shaved head, rested his hand inside his coat. “Don’t run,” Eva murmured, his eyes fixed on the approaching men. “That’s the only rule. You run, this gets messy.” He looked at her, and for a fleeting second, the old, familiar Eva was there—a flash of panic, of apology. Then it was gone. “I’m sorry, Rory. Really. But you’re the only one who can get me out of this.” The men reached their table. The tall one’s hand came out of his coat. It wasn’t holding a weapon. It was holding a small, silver object, catching the dim light. A signet ring. Identical to the one on Silas Blackwood’s right hand.
created_at"2026-04-24T17:45:56.575Z" 4/24/2026, 5:45:56 PM
model"xiaomi/mimo-v2.5-20260422"
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generation_time32156
tokens_prompt4618
tokens_completion3080
native_tokens_prompt4214
native_tokens_completion2618
native_tokens_completion_images(null)
native_tokens_reasoning276
native_tokens_cached4160
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"
usage0.0055904
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is_byokfalse
latency1145
model_permaslug"xiaomi/mimo-v2.5-20260422"
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Evaluation details

Result Evaluator Details Meta Data
0.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags26
adverbTagCount7
adverbTags
0"she finally asked [finally]"
1"His gaze flickered again [again]"
2"Her knuckles whitened around [around]"
3"He leaned back [back]"
4"He gestured vaguely [vaguely]"
5"His gaze drifted again [again]"
6"He turned back [back]"
dialogueSentences57
tagDensity0.456
leniency0.912
rawRatio0.269
effectiveRatio0.246
94.33% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1764
totalAiIsmAdverbs2
found
0
adverb"really"
count2
highlights
0"really"
100.00% AI-ism character names
Target: 0 AI-default names (16 tracked, −20% each)
codexExemptions
0"Blackwood"
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
20.63% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1764
totalAiIsms28
found
0
word"warmth"
count1
1
word"chill"
count3
2
word"scanned"
count2
3
word"eyebrow"
count1
4
word"chaotic"
count1
5
word"aftermath"
count1
6
word"flickered"
count2
7
word"complex"
count1
8
word"silence"
count2
9
word"familiar"
count2
10
word"tracing"
count1
11
word"traced"
count1
12
word"unspoken"
count2
13
word"weight"
count2
14
word"intensity"
count1
15
word"mask of indifference"
count1
16
word"echo"
count1
17
word"stomach"
count1
18
word"unreadable"
count1
19
word"fleeting"
count1
highlights
0"warmth"
1"chill"
2"scanned"
3"eyebrow"
4"chaotic"
5"aftermath"
6"flickered"
7"complex"
8"silence"
9"familiar"
10"tracing"
11"traced"
12"unspoken"
13"weight"
14"intensity"
15"mask of indifference"
16"echo"
17"stomach"
18"unreadable"
19"fleeting"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"hung in the air"
count1
highlights
0"hung in the air"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells1
narrationSentences108
matches
0"felt a chill"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences108
filterMatches(empty)
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences138
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen46
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans3
markdownWords15
totalWords1761
ratio0.009
matches
0"He’s here. Get out."
1"him"
2"You ran. You left me to clean up the mess."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions14
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions39
wordCount1295
uniqueNames13
maxNameDensity0.77
worstName"Eva"
maxWindowNameDensity2
worstWindowName"Eva"
discoveredNames
Rory8
Raven1
Nest1
Yu-Fei1
Tom3
Silas8
London2
Cardiff1
Eva10
Ottoman1
Empire1
Silence1
Blackwood1
persons
0"Rory"
1"Raven"
2"Yu-Fei"
3"Tom"
4"Silas"
5"Eva"
6"Blackwood"
places
0"London"
1"Cardiff"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences88
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1761
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences138
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs49
mean35.94
std21.79
cv0.606
sampleLengths
0101
140
234
347
431
533
689
718
812
947
1021
1174
1223
1347
1434
1513
1677
1717
1824
1938
2046
2125
2259
2332
2427
2515
2635
2719
2836
2973
3041
3110
3247
334
3458
3551
3616
3717
385
3954
409
4138
4250
4322
4414
4536
4660
4730
4812
95.52% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences108
matches
0"been honed"
1"was gone"
2"was gone"
41.27% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount5
totalVerbs210
matches
0"was polishing"
1"weren’t looking"
2"were moving"
3"wasn’t holding"
4"was holding"
60.04% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount5
semicolonCount0
flaggedSentences4
totalSentences138
ratio0.029
matches
0"A slow, crooked smile—one she knew better than her own reflection—tugged at his mouth."
1"This wasn’t the Eva she’d fled London for, the friend whose desperate text—*He’s here."
2"Get out.*—had catapulted her from one life into another."
3"“That’s the only rule. You run, this gets messy.” He looked at her, and for a fleeting second, the old, familiar Eva was there—a flash of panic, of apology."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount681
adjectiveStacks0
stackExamples(empty)
adverbCount23
adverbRatio0.033773861967694566
lyAdverbCount7
lyAdverbRatio0.010279001468428781
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences138
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences138
mean12.76
std7.82
cv0.613
sampleLengths
022
121
228
330
412
519
69
720
814
911
1028
118
1220
1311
146
1527
1622
1718
1829
1920
2018
2112
224
2310
2414
2514
265
273
2810
298
3017
316
3214
336
3414
3517
3622
371
385
3910
4014
419
429
4315
4412
457
4613
4718
4816
4914
49.28% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats12
diversityRatio0.34782608695652173
totalSentences138
uniqueOpeners48
63.49% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences105
matches
0"Then, recognition flickered, and something"
1"Then it was gone."
ratio0.019
29.52% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount50
totalSentences105
matches
0"She scanned the dim room,"
1"He didn’t look up from"
2"She shrugged off her jacket,"
3"He set the glass down"
4"She slid onto her usual"
5"His hair was shorter, cropped"
6"It was a posture she’d"
7"Her stool scraped against the"
8"It didn’t reach his eyes."
9"His voice was deeper, rougher,"
10"He crossed the floor in"
11"He didn’t move to hug"
12"He stopped an arm’s length"
13"His eyes, once a warm,"
14"He let his gaze travel"
15"Her heart hammered against her"
16"He poured a measure of"
17"They took their drinks to"
18"she said, her voice steadier"
19"He took a swallow of"
ratio0.476
26.67% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount91
totalSentences105
matches
0"The smell of vinegar and"
1"The thick, sweet tang of"
2"She scanned the dim room,"
3"The lunchtime rush had subsided,"
4"He didn’t look up from"
5"She shrugged off her jacket,"
6"Silas grunted, a sound that"
7"He set the glass down"
8"She slid onto her usual"
9"A corner of"
10"The man who stepped in"
11"His hair was shorter, cropped"
12"It was a posture she’d"
13"Her stool scraped against the"
14"The name left her lips,"
15"The man’s head turned."
16"A slow, crooked smile—one she"
17"It didn’t reach his eyes."
18"His voice was deeper, rougher,"
19"He crossed the floor in"
ratio0.867
95.24% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences105
matches
0"Before he could respond, the"
1"Before she could form a"
ratio0.019
69.97% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences49
technicalSentenceCount5
matches
0"She scanned the dim room, her eyes adjusting to the low light that pooled over scarred wooden tables and walls cluttered with framed, sepia maps of forgotten ci…"
1"The man who stepped in was tall, broad across the shoulders, wearing a well-cut coat that seemed too heavy for the season."
2"The grey-streaked man moved with a stillness that was more intimidating than any overt action."
3"He leaned forward, his voice dropping to a low, intense murmur that was nothing like his old laugh."
4"She thought of Eva, her friend, crying on her shoulder about his brother’s gambling."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags26
uselessAdditionCount8
matches
0"she said, her voice steadier than she felt"
1"He took, not flinching"
2"She took, the smoky taste coating her tongue"
3"he repeated, the name tasting foreign"
4"she whispered, and the words felt inadequate, small"
5"she said, her voice low"
6"He turned back, his expression unreadable"
7"he said, his voice a low thread of sound"
97.37% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags8
fancyCount3
fancyTags
0"he repeated (repeat)"
1"she whispered (whisper)"
2"Eva murmured (murmur)"
dialogueSentences57
tagDensity0.14
leniency0.281
rawRatio0.375
effectiveRatio0.105
78.1110%