Run: 2026-06-01-01KT1H573T3R8960SS1SPTYFGP

Run Details

Duration:
5m 49s
Cost:
$0.011752
Provider:
Minimax

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 bell above the door hadn't rung in hours. That was the thing about the Nest on a Tuesday, Silas had told her once. No bells, no tourists, no questions. Just the quiet hum of the fridges and the occasional clink of a glass being set down too hard by someone who should have known better. Rory was three sips into a gin and tonic she couldn't afford when the door swung open. She didn't look up. The Nest had its regulars, and the new ones never stayed long. Silas vetted them with that quiet, hawkish attention of his, the limp somehow making him more intimidating, not less, the way a retired predator is more dangerous than a young one. "Rory Carter?" The voice came from a few feet away. Female. Cardiff-flat vowels wrapped around the consonants like they were something precious, like they were about to break. Rory's hand tightened around her glass. She knew that voice. She hadn't heard it in four years, but she knew it the way you know the specific creak of your childhood front door, the exact weight of a home you no longer live in. She looked up. "Christ," she said. Eva Morgan stood in the doorway of the Raven's Nest, a beige trench belted at her waist, blonde hair cut into a sharp bob that caught the green neon of the sign behind her. She looked like a recruitment advertisement. She looked like a stranger. "You're in London," Rory said. Stupid. Obvious. But her brain had gone somewhere else, somewhere back to a terraced house in Cathays with stripped paintwork and a record player that only worked if you propped it up with a textbook. "Business." Eva gestured vaguely at the bar, at the leather stools, at the small back room visible through the gap in the bookshelf. "I didn't know you were here. I mean, I knew you'd moved, but I didn't think..." She trailed off. Her eyes moved across Rory's face the way you'd scan a room for something missing. Rory knew what she was looking for. The crescent-shaped scar on her left wrist had faded to white over the years, the small souvenir of a childhood accident that had nothing to do with anything that came after. "Sit down," Rory said. Eva sat. The stool creaked under her, and she adjusted the belt of her coat like she was preparing for an interview. She glanced toward the bar, where Silas stood polishing a glass with a cloth that had seen better decades. "Who's he?" "Owner." "He looks like he knows things." "He does." The silence between them was the kind that has furniture in it. Rory could feel the years piling up like laundry in a corner, ignored, souring slowly. "I tried to call," Eva said. "After." "I know." "I left messages." "I know." "You never rang back." Rory took a long drink. The gin burned the way she needed it to. "I know." Eva's fingers found the edge of the bar and traced it, the way she used to trace the spines of her textbooks back in sixth form, back when they both still thought they'd be lawyers, back when Rory's biggest problem was the difference between equity and trusts. "I got married," Eva said. "Two years ago. He's a doctor. We live in Edinburgh." "Congratulations." "We were going to invite you. I had your address, that flat in Shoreditch, but when I posted the invitation the letter came back. The tenant said you'd left months before." "I moved." "Three times, I heard. From your mum." The gin sat in Rory's chest like a coal. Her mum. Of course her mum had kept Eva updated. Her mum had been trying to repair the fracture for years, the way mothers do, with phone calls and forwarded emails and the occasional guilt-laden comment about how Eva still asked after her. "I'm sorry," Eva said. She said it the way people say it when they know the word is inadequate, when they know it is a hand stretched across a gulf it cannot possibly span. Rory studied her. Four years had been kind to Eva. She'd filled out, in the right places, in the way that suggested yoga classes and Sunday roasts and a husband who came home at six. Her nails were manicured. Her earrings were tiny gold studs, the kind Rory had always meant to buy herself and never had the spare tenner for. "You look good," Rory said. "You look..." Eva hesitated. "Different." "Terrifyingly so, you mean." "I was going to say brave." The laugh that came out of Rory surprised them both. It was the laugh of a woman who hadn't laughed properly in months, rusty and sharp at the edges. Silas glanced over from behind the bar, one eyebrow raised a fraction, then returned to his glass. "Brave," Rory said. "Is that what we're calling it." "I don't know what to call it." Eva's voice had dropped. The advertisement veneer was cracking, and underneath it was the girl Rory remembered, the one who had once stolen a traffic cone from a roundabout in Roath and carried it three miles home because she said it was aesthetically significant. "I think they call it survival," Rory said. "In the pamphlets." Eva flinched. It was small, barely a movement, but Rory caught it the way you catch a change in air pressure, instinctively, the way her body had learned to do in the years after a particular set of incidents she did not name in public. "I should have come," Eva said. "When you called me. That night. I was in Geneva, and I had a meeting, and I told myself I'd ring you in the morning, and then the morning came and you weren't answering and I thought perhaps it wasn't as bad as you said, perhaps you were being dramatic, the way you sometimes were, the way we all were at twenty-one, and by the time I got to a phone it had been three days and I didn't know what to say." Rory said nothing. "And then I heard about the restraining order, and I thought, that's good, that's done, that's over, and I let myself believe it was over because it was easier than the alternative." "The alternative being what?" "Being the friend who wasn't there." Eva's hand had stopped moving. "Being the friend who chose a meeting in Geneva over a phone call that lasted four minutes." The fridge hummed. Somewhere behind the bookshelf, a glass was set down with a soft thud. Silas was always listening, Rory knew. He listened the way old spies do, passively, the way other people breathed. "You weren't the only one," Rory said. "Don't give yourself that much credit." It came out harsher than she meant. Or perhaps exactly as harsh as she meant. Eva's mouth thinned, and she looked down at her hands, folded now in her lap, the gold of her wedding ring catching the low light. "I know," Eva said. "I know that. I just thought, when I saw your name on the lease for this place, on the corkboard by the door, Aurora Carter, the way you used to sign your essays, I thought perhaps the universe was giving me a chance to do it right this time." Rory looked at the corkboard by the door. She hadn't noticed her own name there, a small piece of paper, the kind landlords use to confirm tenancy. Aurora Carter. A woman she sometimes no longer recognised. "Life doesn't work like that," she said. "You know that." "I know." "There's no second chances. There's just... you keep going. And sometimes someone walks into a bar and you realise you've been running for so long you forgot there was a place to stop." Eva was crying. Not the way people cry in films, not the silent single-track tear, but properly, her shoulders hitching, her hand coming up to cover her mouth like she was trying to hold it in. The gold studs in her ears trembled. "I'm sorry," Eva said again. "I'm so sorry." "I know." "I should have been there." "I know." "I should have answered the phone." "I know." Rory reached across the bar and put her hand over Eva's. The contact was electric in its unfamiliarity. When had they last touched? Before the move, before the bruises, before the night she had packed a single bag and left her key on the kitchen counter and walked to the train station because her car was in a name she no longer wanted on her tongue. Eva's hand was warm. Soft. Rory's was calloused at the tips from the delivery routes, from the heavy boxes of dim sum and chow mein she hauled up five flights of walk-ups in Bloomsbury. The contrast said everything neither of them could. Silas set a fresh drink in front of Eva without being asked. Gin and tonic. The same as Rory's. He didn't say a word. He just nodded once, that small economical movement he used, and turned back to his glass and his cloth. "How long are you in London?" Rory asked. "Tonight. Tomorrow morning, I fly back." "A long way to come for a meeting." "It wasn't a meeting." Eva wiped her eyes with the back of her hand, smudging the careful make-up. "I came to find you. Your mum gave me the address. I told her I was in town on business and she said there was no point because you'd broken another phone and I said I'd bring you a new one and she said, Eva, love, she'll throw it in the river, but she told me anyway." Rory almost smiled. "She always did like you." "She always said you did too. That you just had a hard time showing it." "Hm." They sat in silence. The clock above the bar ticked over. A man in the corner booth gathered his coat and left, and the door didn't ring when he pushed it, just swung shut on its own weight, the way doors do in places that don't want to draw attention to themselves. "I'm not asking for forgiveness," Eva said. "Good." "I'm not asking for anything. I just wanted to see you. To know you were... here. That you existed somewhere outside of my guilt." Rory lifted her glass. "To existence, then." Eva lifted hers. They clinked. The sound was small, and the gin was sharp, and somewhere in the back of Rory's mind a girl from Cathays was laughing, and a record player was propped up with a textbook, and the world was the size of a terraced house and nothing had yet gone wrong. "You'll come to Edinburgh," Eva said. It wasn't a question. It was a dare, the kind she had always issued, the kind Rory had always followed. "No." "Okay." "You'll come here. You'll bring the shepherd's pie. You'll stay at mine." Eva smiled. It was a watery, broken sort of smile, and it broke something open in Rory that she hadn't realised was still closed. Silas appeared again, this time with a small piece of paper and a pen. He set them in front of Eva without comment, then limped back to his station. Eva laughed, the sound bright and wet. "He really does know things." "He really does," Rory said. Eva wrote down an address. A phone number. A name: The Owens, 14 Learmonth Grove, Edinburgh. She slid the paper across to Rory, who took it, folded it once, and put it in the pocket of her jacket, the one with a tear in the lining she had been meaning to fix for six months. "Go home to your doctor," Rory said. "In the morning." "Tonight. He's probably worried." "He's used to it. He's a surgeon." Eva stood, and the stool creaked again, and Rory noticed for the first time how tired Eva looked, the way the make-up couldn't quite cover the shadows under her eyes, the way her shoulders sat a fraction too high, the way people hold themselves when they've been carrying something heavy for longer than they can remember. They hugged. It was awkward, the way hugs always are between people who have forgotten the choreography of each other's bodies. Rory's chin ended up on Eva's shoulder, and Eva's arms tightened, and for a moment they were seventeen again, before any of it, before the law degrees that never happened, before the marriage that never was, before the night Rory had finally stopped answering her phone. Eva pulled back. She looked at Rory one more time, like she was trying to memorise her, like she was afraid that if she blinked Rory would disappear again. "Edinburgh," she said. "Edinburgh," Rory echoed. Eva walked to the door. This time, it did ring when she pushed it, a small, bright, defiant sound, and then she was gone, and the green neon sign settled back into its quiet hum, and Rory was alone at the bar with a piece of paper in her pocket and a half-finished drink. Silas came and stood beside her. He didn't say anything. He just leaned against the bar, his limp shifting his weight slightly, and looked at the door as if he could still see her through it. "You alright?" he said, after a while. "No," Rory said. He nodded, as if this were the correct answer. "The drink's on me tonight." "Cheers." "Go easy, Rory." "I always do." The piece of paper sat in her pocket like a small, persistent flame. She thought about the river. She thought about the train to Edinburgh. She thought about a girl she had been, a long time ago, who had once believed that people came back. Her phone buzzed on the bar. She didn't recognise the number. The screen glowed with a single line of text. *Found your delivery rota on the counter. Hope that's not creepy. The shepherd's pie is on Sunday.* Rory stared at the screen. The gin in her glass caught the neon light and turned it green. She typed back: *The doctor's really a surgeon?* Three dots appeared. Disappeared. Appeared again. *Paediatric surgery, actually. I lied about Edinburgh too. We're in Glasgow. He cries at children's films. You'll love him.* Rory laughed. It came out rough, surprised, the laugh of a woman who hadn't expected to find anything funny in this particular evening. Silas glanced at her. One eyebrow. "Friend?" he said. "Archaeology," Rory said. She finished her drink, pocketed her phone, and left a five-pound note on the bar even though Silas had said it was on him, because she had learned, in the years since, that the small insistences were what kept a person standing. The door didn't ring when she left. The rain had stopped, but the streets still shone under the streetlights, and somewhere in Mayfair a cab was pulling away from a hotel, and in the pocket of her jacket a piece of paper sat folded, waiting to be unfolded. She didn't throw it in the river.
created_at"2026-06-01T12:04:55.553Z" 6/1/2026, 12:04:55 PM
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags31
adverbTagCount2
adverbTags
0"Eva gestured vaguely [vaguely]"
1"Eva said again [again]"
dialogueSentences87
tagDensity0.356
leniency0.713
rawRatio0.065
effectiveRatio0.046
90.08% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2520
totalAiIsmAdverbs5
found
0
adverb"slowly"
count1
1
adverb"really"
count3
2
adverb"slightly"
count1
highlights
0"slowly"
1"really"
2"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)
74.21% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2520
totalAiIsms13
found
0
word"predator"
count1
1
word"weight"
count3
2
word"silence"
count2
3
word"could feel"
count1
4
word"traced"
count1
5
word"eyebrow"
count2
6
word"trembled"
count1
7
word"electric"
count1
8
word"echoed"
count1
highlights
0"predator"
1"weight"
2"silence"
3"could feel"
4"traced"
5"eyebrow"
6"trembled"
7"electric"
8"echoed"
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
narrationSentences167
matches
0"was afraid"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount3
hedgeCount0
narrationSentences167
filterMatches
0"know"
1"know know"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences223
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen84
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans3
markdownWords41
totalWords2520
ratio0.016
matches
0"Found your delivery rota on the counter. Hope that's not creepy. The shepherd's pie is on Sunday."
1"The doctor's really a surgeon?"
2"Paediatric surgery, actually. I lied about Edinburgh too. We're in Glasgow. He cries at children's films. You'll love him."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions38
unquotedAttributions0
matches(empty)
16.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions114
wordCount1899
uniqueNames20
maxNameDensity2.37
worstName"Rory"
maxWindowNameDensity4.5
worstWindowName"Rory"
discoveredNames
Nest3
Tuesday1
Silas10
Eva36
Morgan1
Raven1
Stupid1
Cathays2
Rory45
Sunday2
Roath1
Carter1
Bloomsbury1
Owens1
Learmonth1
Grove1
Edinburgh3
Three1
Glasgow1
Mayfair1
persons
0"Nest"
1"Silas"
2"Eva"
3"Morgan"
4"Raven"
5"Rory"
6"Carter"
7"Owens"
places
0"Cathays"
1"Roath"
2"Bloomsbury"
3"Grove"
4"Edinburgh"
5"Glasgow"
6"Mayfair"
globalScore0.315
windowScore0.167
92.53% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences87
glossingSentenceCount2
matches
0"looked like a recruitment advertisement"
1"quite cover the shadows under her eyes, the way her shoulders sat a fraction too high, the way people hold themselves when they've been carrying something heavy for longer than they can remember"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords0.794
wordCount2520
matches
0"Not the way people cry in films, not the silent single-track tear, but properly, her shoulders hitching, her hand coming up to cove"
1"not the silent single-track tear, but properly, her shoulders hitching, her hand coming up to cove"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount2
totalSentences223
matches
0"knew that voice"
1"believed that people"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs118
mean21.36
std20.89
cv0.978
sampleLengths
056
117
247
32
426
544
63
73
845
940
1039
1156
124
1341
142
151
166
172
1827
197
202
213
222
234
2416
2547
2615
271
2831
292
307
3152
3234
3361
345
355
364
376
3846
399
4051
4111
4245
4389
443
4532
464
4728
4835
4913
94.76% Passive voice overuse
Target: ≤2% passive sentences
passiveCount5
totalSentences167
matches
0"were manicured"
1"was calloused"
2"being asked"
3"was propped"
4"was gone"
22.49% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount9
totalVerbs338
matches
0"was looking"
1"was preparing"
2"was cracking"
3"was always listening"
4"was crying"
5"was trying"
6"was laughing"
7"was trying"
8"was pulling"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences223
ratio0
matches(empty)
96.94% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1908
adjectiveStacks0
stackExamples(empty)
adverbCount83
adverbRatio0.04350104821802935
lyAdverbCount15
lyAdverbRatio0.007861635220125786
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences223
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences223
mean11.3
std13.16
cv1.165
sampleLengths
09
115
26
326
417
54
612
731
82
98
101
1117
126
134
1434
153
163
1734
186
195
205
211
221
2333
2423
2516
263
2715
287
2931
304
312
3220
3319
342
351
366
372
3812
3915
406
411
422
433
442
454
465
479
482
4947
39.16% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats26
diversityRatio0.30493273542600896
totalSentences223
uniqueOpeners68
78.13% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences128
matches
0"Just the quiet hum of"
1"Of course her mum had"
2"Somewhere behind the bookshelf, a"
ratio0.023
76.25% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount46
totalSentences128
matches
0"She didn't look up."
1"She knew that voice."
2"She hadn't heard it in"
3"She looked up."
4"She looked like a recruitment"
5"She looked like a stranger."
6"She trailed off."
7"Her eyes moved across Rory's"
8"She glanced toward the bar,"
9"Her mum had been trying"
10"She said it the way"
11"She'd filled out, in the"
12"Her nails were manicured."
13"Her earrings were tiny gold"
14"It was the laugh of"
15"It was small, barely a"
16"He listened the way old"
17"It came out harsher than"
18"She hadn't noticed her own"
19"He didn't say a word."
ratio0.359
18.59% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount113
totalSentences128
matches
0"The bell above the door"
1"That was the thing about"
2"Rory was three sips into"
3"She didn't look up."
4"The Nest had its regulars,"
5"Silas vetted them with that"
6"The voice came from a"
7"Rory's hand tightened around her"
8"She knew that voice."
9"She hadn't heard it in"
10"She looked up."
11"Eva Morgan stood in the"
12"She looked like a recruitment"
13"She looked like a stranger."
14"Eva gestured vaguely at the"
15"She trailed off."
16"Her eyes moved across Rory's"
17"Rory knew what she was"
18"The crescent-shaped scar on her"
19"The stool creaked under her,"
ratio0.883
39.06% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences128
matches
0"Before the move, before the"
ratio0.008
75.47% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences53
technicalSentenceCount5
matches
0"Just the quiet hum of the fridges and the occasional clink of a glass being set down too hard by someone who should have known better."
1"Eva Morgan stood in the doorway of the Raven's Nest, a beige trench belted at her waist, blonde hair cut into a sharp bob that caught the green neon of the sign…"
2"The crescent-shaped scar on her left wrist had faded to white over the years, the small souvenir of a childhood accident that had nothing to do with anything th…"
3"Not the way people cry in films, not the silent single-track tear, but properly, her shoulders hitching, her hand coming up to cover her mouth like she was tryi…"
4"It came out rough, surprised, the laugh of a woman who hadn't expected to find anything funny in this particular evening."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags31
uselessAdditionCount1
matches
0"Eva stood, and the stool creaked again, and Rory noticed for the first time how tired Eva looked, the way the make-up couldn't quite cover the shadows under her eyes, the way her shoulders sat a fraction too high, the way people hold themselves when they've been carrying something heavy for longer than they can remember"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags24
fancyCount0
fancyTags(empty)
dialogueSentences87
tagDensity0.276
leniency0.552
rawRatio0
effectiveRatio0
83.8109%