Run: 2026-04-25-01KQ2KDR3JHS80D55P5P1Z2ABT

Run Details

Duration:
1m 53s
Cost:
$0.018146
Provider:
Novita

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 door swung open with its familiar groan, and Aurora heard Silas shift behind the bar, his weight settling onto his good leg. She kept her eyes on the inventory spread before her, the clatter of bottles a comfortable rhythm. "Rory." Not the casual drawl of a regular. Not Silas's clipped tone. The voice cut through the bar's murmur like a blade, and her hands stilled on the gin. She turned slowly. He stood near the entrance, shedding a Burberry trench that had no business in a Soho dive. Bespoke suit. Cufflinks catching the green neon from the sign outside. Hair cropped sharp and clean. But the eyes were the same, dark and earnest, the eyes of a boy who'd passed her notes in Constitutional Law. "Thomas," she said. "God, Rory. It is you." He moved toward her, and she noticed the weight he'd lost, the lines around his mouth, the way he carried himself now like a man who expected doors to open before he touched them. Three years had rewritten him. "The prodigal son returns to London's armpit." She set the bottle down. "What brings you here?" "Meeting ran late. Partner's choice." He gestured vaguely westward. "Some absurd place with gold-plated menus. I needed air that didn't taste like truffle oil." "Mission accomplished, then. We only have air that tastes like old beer and poor decisions." Thomas laughed, but it came out hollow, the way people laughed when they were buying time. His gaze swept the room, lingering on the black-and-white photographs, the yellowed maps peeling at the corners. A group of students huddled near the back, their laughter too loud, too oblivious. "You work here?" "I'm not a taxidermied exhibit, Thomas. Yes, I work here. I also live upstairs, if you're taking inventory." The edge in her voice surprised her. She pulled a glass and poured two fingers of whisky without asking. "Eva's mum said you'd left Cardiff." Thomas slid onto a stool. "My mother ran into her at Waitrose. The Cardiff gossip pipeline remains undefeated." "God bless the Waitrose deli counter." "Rory." The way he said her name, soft and loaded, made her want to throw the whisky in his face. Instead, she pushed the glass toward him and took a sip from a bottle of lager she'd opened earlier. "I heard about Evan," he said. The glass paused halfway to his lips. She watched his reflection in the mirror behind the bar, the careful way he arranged his features into neutrality. "Cardiff grapevine again?" "Something like that." He set the drink down untouched. "I wished you'd called." "Called you? Thomas, last time I saw you, you were polishing your father's name plate for the firm. What was I supposed to say? 'Hello, I know it's been two years, but my boyfriend's taken to rearranging my ribs'?" Thomas flinched. Properly, visibly flinched, and for a moment she saw the boy who'd lost a moot court final and cried in the library stacks. Then the mask slid back. "I could have helped." "Could you?" "I'm a barrister now, Rory. I have contacts. Resources." "And I'm a delivery driver for a Chinese restaurant. What do you want, a gold star for lateral thinking?" The words hung between them, caustic and unfair. She knew it even as she said them, but the apology lodged in her throat like a fishbone. Thomas picked up his whisky and drank deeply. "The Golden Empress," he said. "Cheung's place." "You've done your homework." "Loose end. I've been looking for you." "Why?" He didn't answer immediately. His fingers traced the rim of his glass, and she noticed his hands were shaking, just slightly, the tremor she remembered from exam seasons. "Remember Professor Watkins's lecture on mens rea?" he said. "You corrected him on a citation. Fourth week of first year. He was furious." "I remember." "You said the law wasn't about intentions but about actions. That what we actually did mattered more than what we planned to do." Thomas smiled, but it didn't reach his eyes. "I thought about that a lot. After you left." "Thomas—" "You were the best of us. Better than me, better than everyone in that bloody lecture hall. And you just vanished." "I didn't vanish. I ran. There's a distinction." "Aurora Carter runs from nothing." He said it as a statement of fact, the way he used to argue points in tutorials, chin lifted, eyes steady. "Not from dragons, you said. Especially not from dragons." "You're misquoting Eva. 'Here be dragons.' Old map stuff." "Same principle." She was silent for a long moment, the lager souring on her tongue. The photograph above the till showed a man in a trench coat crossing a cobbled street in Prague. She knew the photo well. She'd asked Silas about it once, and he'd said, "He walked out of the frame five minutes before a bomb went off. Never knew." "I didn't run from Evan," she said quietly. "I ran from who I became with him. That's harder to explain." Thomas's jaw tightened. He looked at her hands, at the small crescent-shaped scar on her left wrist. "You still play piano?" The question was so unexpected, so absurdly mundane, that she almost laughed. "No." "But you could." "Could and do are different things, barrister." He leaned back, his suit jacket falling open to reveal a silver tie pin shaped like a tiny set of scales. The symbolism was so on the nose she wanted to roll her eyes, but she held his gaze instead. "I came here to say something," he said. "And I'm going to say it, even if you throw me out." "Silas carries a cricket bat behind the bar. I'll give you fair warning." "There's a place at the firm. Not for me to offer, I'm not senior enough, but I can recommend. They need researchers, paralegals to start, but with your mind—" "No." "Just listen—" "I said no, Thomas. You're not hearing me." She planted both hands on the counter and leaned forward. "I don't want back into that world. I don't want the suits and the stipulations and the men who think 'no' is a negotiating tactic. I scrub dishes and deliver noodles and it's the freest I've ever been." "That's not freedom. That's hiding." The lager bottle sweated in her grip. Condensation dripped onto the wood, pooling like a tiny lake. "Maybe," she said. "But it's mine." Thomas stood, abruptly, his stool scraping against the floor. The students glanced over, sensing drama, then returned to their pints. He reached into his jacket and pulled out a card, cream stock, embossed lettering. "My number's the same. It's always been the same." He placed it on the bar between them. "I meant what I said, Rory. All those years ago. Before everything." She picked up the card. T. Harrington, Barrister-at-Law. The words blurred. "You're three years late." "I know." He reached for his coat, and she saw it clearly then, the way he moved, careful and deliberate, the slight flinch when he reached too fast with his right arm. The injury she'd read about in a newspaper clipping Eva had sent her, the one she'd tucked into a drawer and never opened again. "Thomas. Your shoulder." He paused, one arm in the Burberry. "Car accident. Last winter. Took six months to lift a briefcase." "Why didn't you—" She stopped. The hypocrisy was too large to swallow. "I did try to call. Once. A few months after you left Cardiff." He shrugged, and the coat settled around his shoulders like armour. "You didn't answer. I assumed you didn't want to be found." She had no answer for that. The silence stretched, and in it she heard all the things they'd never said. Then the door opened again, and Silas limped through from the back, his signet ring catching the light as he scanned the room. "Everything all right, Aurora?" The use of her full name wasn't accidental. Thomas straightened, and the two men sized each other up in that peculiar way that men did, testosterone and territory disguised as posture. "Mr. Harrington was just leaving," she said. "Was I?" "Yes." She slid the card into her pocket, and Thomas's eyes followed the movement. "You were." He held her gaze for one breath, two. Then he nodded, a short, sharp jerk of the chin. "Goodbye, Rory." "Goodbye, Thomas." The door closed behind him, and the bar's atmosphere settled back into its familiar hum. Silas picked up the untouched whisky and sniffed it. "Decent taste for a man who doesn't drink." "He drank," Aurora said. "Once." Silas said nothing. He wiped the glass with his towel and placed it back on the shelf. "You've got a delivery at six," he said. "I know." But she didn't move. She stood at the bar, watching the door, the card burning a hole in her pocket like a coal she'd somehow agreed to carry. Outside, the rain began, a soft London drizzle that turned the neon green into smudged watercolour, and somewhere beyond the glass, Thomas Harrington walked away from The Raven's Nest for the second time in his life. The first time, she'd been too afraid to watch him go.
created_at"2026-04-25T15:17:03.183Z" 4/25/2026, 3:17:03 PM
model"deepseek/deepseek-v4-pro-20260423"
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tokens_completion3592
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native_tokens_reasoning1056
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags22
adverbTagCount2
adverbTags
0"He gestured vaguely [vaguely]"
1"she said quietly [quietly]"
dialogueSentences79
tagDensity0.278
leniency0.557
rawRatio0.091
effectiveRatio0.051
93.49% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1536
totalAiIsmAdverbs2
found
0
adverb"slowly"
count1
1
adverb"slightly"
count1
highlights
0"slowly"
1"slightly"
100.00% AI-ism character names
Target: 0 AI-default names (16 tracked, −20% each)
codexExemptions
0"Blackwood"
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
73.96% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1536
totalAiIsms8
found
0
word"familiar"
count2
1
word"weight"
count2
2
word"comfortable"
count1
3
word"traced"
count1
4
word"silence"
count1
5
word"scanned"
count1
highlights
0"familiar"
1"weight"
2"comfortable"
3"traced"
4"silence"
5"scanned"
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
narrationSentences88
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences88
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences145
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen39
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1536
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions29
unquotedAttributions0
matches(empty)
97.48% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions32
wordCount952
uniqueNames14
maxNameDensity1.05
worstName"Thomas"
maxWindowNameDensity2
worstWindowName"Thomas"
discoveredNames
Aurora2
Silas6
Burberry2
Soho1
Constitutional1
Law2
Thomas10
Prague1
Barrister-at-Law1
Eva1
London1
Harrington2
Raven1
Nest1
persons
0"Aurora"
1"Silas"
2"Thomas"
3"Eva"
4"Harrington"
places
0"Burberry"
1"Soho"
2"Constitutional"
3"Law"
4"Prague"
5"London"
6"Raven"
globalScore0.975
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences58
glossingSentenceCount1
matches
0"Properly, visibly flinched, and for a"
69.79% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.302
wordCount1536
matches
0"Not for me to offer, I'm not senior enough, but I can recommend"
1"not senior enough, but I can recommend"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences145
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs91
mean16.88
std15.59
cv0.924
sampleLengths
040
11
228
33
454
53
65
739
816
924
1015
1147
123
1318
1419
1524
166
171
1838
196
2026
213
2213
2339
2430
254
262
279
2819
2934
307
314
327
331
3428
3523
362
3740
381
3921
408
4135
429
432
4460
4520
4617
474
4812
491
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences88
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs175
matches
0"were buying"
1"were shaking"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences145
ratio0
matches(empty)
92.43% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount957
adjectiveStacks1
stackExamples
0"small crescent-shaped scar"
adverbCount40
adverbRatio0.04179728317659352
lyAdverbCount11
lyAdverbRatio0.011494252873563218
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences145
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences145
mean10.59
std8.46
cv0.798
sampleLengths
023
117
21
37
44
517
63
717
82
99
105
1121
123
135
1434
155
1612
174
189
1915
2015
2116
2217
2314
243
2518
267
2712
2811
2913
306
311
3219
3319
346
357
3619
373
389
394
4039
412
4223
435
444
452
469
4719
488
4918
58.62% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats5
diversityRatio0.3724137931034483
totalSentences145
uniqueOpeners54
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount5
totalSentences74
matches
0"Instead, she pushed the glass"
1"Properly, visibly flinched, and for"
2"Then the mask slid back."
3"Then the door opened again,"
4"Then he nodded, a short,"
ratio0.068
47.03% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount32
totalSentences74
matches
0"She kept her eyes on"
1"She turned slowly."
2"He stood near the entrance,"
3"He moved toward her, and"
4"She set the bottle down"
5"He gestured vaguely westward"
6"His gaze swept the room,"
7"She pulled a glass and"
8"She watched his reflection in"
9"He set the drink down"
10"She knew it even as"
11"He didn't answer immediately."
12"His fingers traced the rim"
13"He said it as a"
14"She was silent for a"
15"She knew the photo well."
16"She'd asked Silas about it"
17"she said quietly"
18"He looked at her hands,"
19"He leaned back, his suit"
ratio0.432
34.32% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount63
totalSentences74
matches
0"The door swung open with"
1"She kept her eyes on"
2"The voice cut through the"
3"She turned slowly."
4"He stood near the entrance,"
5"Cufflinks catching the green neon"
6"Hair cropped sharp and clean."
7"He moved toward her, and"
8"She set the bottle down"
9"He gestured vaguely westward"
10"Thomas laughed, but it came"
11"His gaze swept the room,"
12"A group of students huddled"
13"The edge in her voice"
14"She pulled a glass and"
15"Thomas slid onto a stool"
16"The way he said her"
17"The glass paused halfway to"
18"She watched his reflection in"
19"He set the drink down"
ratio0.851
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences74
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences36
technicalSentenceCount2
matches
0"He moved toward her, and she noticed the weight he'd lost, the lines around his mouth, the way he carried himself now like a man who expected doors to open befo…"
1"Outside, the rain began, a soft London drizzle that turned the neon green into smudged watercolour, and somewhere beyond the glass, Thomas Harrington walked awa…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags22
uselessAdditionCount1
matches
0"He shrugged, and the coat settled around his shoulders like armour"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags12
fancyCount1
fancyTags
0"She'd (would)"
dialogueSentences79
tagDensity0.152
leniency0.304
rawRatio0.083
effectiveRatio0.025
88.9039%