Run: 2026-06-24-01KVX2JTTXTWR7A9QT5C47A8YM

Run Details

Duration:
1m 22s
Cost:
$0.020062
Provider:
Z.AI

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 pint glass hit the bar a half-second before I registered the voice. "Rory? Rory Carter?" My hand froze around the stem of my wine glass. I knew that voice. Knew it the way you know a song you haven't heard in years but can still hum in the shower. The accent was wrong, though. Cardiff lilt flattened by too many years in London. I turned. Mara Howell. Standing three feet away with a half-spilled lager and an expression like she'd seen a ghost. Which, in a sense, she had. "Mara." "Jesus Christ." She laughed, but it came out thin. "I thought you were dead. Genuinely. Eva wouldn't tell me anything, just 'she's fine, she's safe,' and then you just, what, vanished?" The Mara I remembered had been soft. Round-faced, perpetually flushed, the kind of girl who cried at adverts about lost dogs and kept rescue cats she couldn't afford. This Mara had cheekbones that could cut paper. Her collarbone jutted from a black silk top like a coat hanger. The skin under her eyes carried a bruised quality that had nothing to do with sleep and everything to do with foundation applied too sparingly over too much gin. "You look," I said. "Different? Yeah. Well." She gestured at herself with the lager. "Shit happens." Silas passed behind the bar, collecting empties. His hazel eyes flicked to me, then to Mara, then back. He moved on without a word. The man had an instinct for knowing when to be invisible. "Sit down," I said. She did. Perched on the stool like a bird on a wire, all angular knees and restless fingers. She kept turning her glass, round and round, leaving wet rings on the mahogany. "So this is where you've been hiding. Soho." She scanned the walls, the old maps, the black-and-white photographs of cities I'd never asked Silas about. "Classy. Very you." "Is it?" "You always did like your little secrets." Something sharp flickered behind her eyes. "Remember when you hid Evan's car keys for three days because he forgot your birthday? Never told him. Just let him take the bus." The name landed in my chest. I swallowed. Took a sip of wine. "That was childish." "That was funny. He got soaked twice. Once in Roath, once outside the chip shop on Wellfield Road. Remember? He stood there in the rain like a drowned cat, shouting at the bus driver." "I remember." Silence settled between us. The bar hummed with its usual Wednesday crowd, low conversations and the clink of glassware. Someone fed coins into the jukebox in the corner. Tom Waits. Of course. Silas programmed that thing like a man who'd given up on joy but not on taste. Mara leaned closer. The smell hit me, perfume over something medicinal. Vodka. Not the lager. The lager was a prop. "You left Cardiff and never called." "I called Eva." "Eva." She laughed again. Harder this time. "Eva, who moved to Bristol six months after you left. Eva, who couldn't keep a secret if you stapled it to her tongue. Eva, who told me you'd gone to London but nothing else. Not where. Not why. Not what he did." "He didn't, I, it's complicated." "They always are, aren't they?" She finished the lager in one long swallow and set the empty glass down with a crack. "Another?" I caught Silas's eye. He nodded, already reaching for the tap. He'd heard enough to know the shape of the conversation, even if he didn't know the specifics. "So what happened to you?" I asked. "Last I heard, you were engaged to, what was his name?" "David. Dai. Doesn't matter." She waved a hand. The bones of her wrist stood out like struts on a scaffolding. "Left him at the altar. Well, not the altar. The registry office. Close enough." "Mara." "Don't. Don't do that voice. The concerned-Rory voice. You don't get to do that voice. You don't get to vanish for three years and then do the concerned voice." The drinks arrived. Silas set them down and retreated. I watched his back as he moved to the other end of the bar, the slight hitch in his step more pronounced tonight. The rain, probably. Old injuries always knew when the weather turned. "I'm not doing a voice." "You are. You always did. Even at uni, when you'd pretend everything was fine and then spend all night in the library because you couldn't sleep." She picked up her fresh lager but didn't drink. Just held it. "I used to find you there, you know. Three in the morning, hunched over case law with your headphones in. Pretending you weren't crying." "I wasn't always crying." "No. Sometimes you were just staring at the wall. That was worse." I studied her face. The old Mara would have been crying by now. This one sat with her jaw set and her eyes dry, and somehow that was infinitely more devastating. "What happened?" I asked. "After I left. What happened to you?" "You happened to me." She said it simply, without malice, the way you'd state a fact about gravity. "You left, and Eva left, and David wanted to get married and I thought, why not? Why not. Because there was nothing keeping me anywhere anymore. And then I'm standing in a white dress in the registrar's office and I realise I don't want to marry him. I don't want to marry anyone. I don't want to be in Cardiff. I don't want to be in this dress. I don't want anything." She finally drank. Long and slow. "So I walked out. Took the train to London. Got a job in PR, of all things. You'd laugh. Me. In PR. Talking to people for a living." Her lips twisted. "Turns out I'm good at it. Good at pretending to care about things I don't care about. Good at smiling at clients and saying 'absolutely, we can make that work' when what I mean is 'I'd rather be dead.'" "Mara, I'm sorry. I should have, I should have called. I should have, I know." "Yes. You should have." The jukebox clicked over. Something softer now. Chet Baker. Silas had a weakness for the sad ones. "You know the worst part?" She set her glass down. Empty again. "I kept your number. For years. Kept it in my phone, kept it charged, kept the contract going even when I couldn't afford it. Because I kept thinking, she'll call. She'll call and she'll explain and it'll all make sense, and I'll understand why you left without saying goodbye to me." "I told Eva to, I asked her to tell you I was safe." "Safe." The word came out like she was spitting a bone. "You asked her to tell me you were safe. Like I was a, a concerned neighbour. A distant relative. Not someone who held your hair back when you drank too much Snakebite at the Taf. Not someone who lent you her car when you needed to get away from him. Not someone who would have driven to wherever you were at three in the morning if you'd just, if you'd just asked." Her voice cracked on the last word. Just a hairline fracture, barely audible. But I heard it. I heard it the way you hear a wine glass before it shatters. I reached for her hand. She pulled away. "Don't. You don't get to do that either." "Then what do I get to do?" She looked at me. Really looked, for the first time since she'd sat down. Her eyes, still the same grey-green I remembered, swept over my face like she was cataloguing the changes. The new scar above my eyebrow from a delivery gone wrong in Brixton. The way I held my shoulders now, squared, ready. The wine instead of the Snakebite. "You get to tell me what he did." The bar noise seemed to recede. Tom Waits or Chet Baker or whoever the hell Silas had queued up faded to a murmur. Even the green light from the sign outside, pulsing through the window like a slow heartbeat, seemed to dim. "Mara, I can't." "You can. You just don't want to." She leaned forward. "I saw the bruise, Rory. The one on your arm, at Dai's birthday, three weeks before you left. You said you walked into a door. I believed you because I wanted to, not because I was stupid. And then you disappeared, and I spent three years thinking about that bruise. Three years wondering if I should have said something. Done something. So you don't get to sit there and tell me you can't, because I have earned this. I have earned the truth." My throat closed. I picked up my wine, set it down. Picked it up again. The glass trembled. "He," I started. Stopped. Swallowed. "It started small. Comments. About what I wore, who I talked to. Then it was, he'd check my phone. Show up at the library. At lectures. Waiting outside with that smile, you know the one, and everyone thought, oh, how sweet, how devoted. And I thought so too, for a while. I thought that's what love looked like. Wanting to know where someone is. Wanting to be near them all the time." I paused. "Then he grabbed me. First time was over nothing. I'd forgotten to text back. We were in his flat and he grabbed my arm and shook me, and I remember thinking, this isn't happening, this doesn't happen to me, I'm smart, I'm careful, this happens to other people. But it was happening, and it kept happening, and each time it was my fault for, for provoking him. For wearing the wrong thing. For smiling at the wrong person. For existing wrong." Mara's hand found mine. This time she didn't pull away. Her fingers were cold, bony, and they gripped like a vice. "The bruise you saw," I continued. "That was a good day. That was a day he felt bad about. He brought me flowers the next morning. Tulips. Yellow ones. And I put them in a vase and I thought, okay, it won't happen again. He's sorry. He loves me. And it did happen again, and he was sorry again, and the cycle, it just, it kept going. Round and round. And I couldn't get off because by then I didn't trust my own judgement anymore. He'd made sure of that." "Why didn't you tell me?" "Because I was ashamed. Because I thought you'd see me differently. Because I was the smart one, the together one, the one who had everything figured out, and admitting that I'd let someone do that to me felt like admitting I'd failed. At everything. At being me." Mara's grip tightened. "Eva found out," I said. "She saw the bruises. The real ones, not the door ones. She packed my bag that night. Drove me to the train station. Didn't let me say goodbye to anyone because she said if I went back, even for a minute, I'd stay. So I left. And I didn't call because calling meant explaining, and explaining meant saying it out loud, and saying it out loud made it real." The bar had gone quiet. Not literally, but the kind of quiet that happens when the world contracts to the space between two people. Silas was at the far end, polishing a glass with the focus of a man who could hear every word but knew better than to acknowledge it. "Is he still in Cardiff?" Mara's voice had gone flat. Controlled. The PR voice, the one she used for clients. "I don't know. I haven't looked. Eva said not to look. Said looking was a way of staying connected, and I needed to disconnect." "Smart woman, Eva." "Yeah." "And now? You're delivering Chinese food and living above a bar." "I'm rebuilding." "From what?" "From the ground up." She nodded slowly. Then she finished her drink, set the glass down with a soft thud, and looked at me with those grey-green eyes that hadn't changed at all, not really, not underneath. "I'm glad you're alive," she said. "I'm glad you are too." "You know where to find me now. Don't make me search for three years again." She stood. Pulled on a coat that cost more than my monthly rent. Wrapped a scarf around her neck with the precision of someone who'd made a ritual of leaving. "Rory." "Yeah." "That bruise. On your wrist. The crescent one." I looked down. The old scar, pale against my skin. Childhood, I'd always said. Fell off a bike. "He did that too, didn't he?" I didn't answer. She nodded once, like the silence was confirmation enough, and walked toward the door. The green light caught her silhouette as she pushed through, and then she was gone, swallowed by the Soho night. Silas appeared beside me. He set down a fresh glass of wine without being asked. "Friend of yours?" "Old friend." "She know about the other thing? The deliveries that aren't deliveries?" I looked up at him. His face gave nothing away. It never did. "Not yet." "Keep it that way." He picked up Mara's empty glasses. "The ones who matter always find out eventually. Question is whether you tell them or they stumble in blind." He limped back toward the bar, and the jukebox clicked over to something I didn't recognise. My phone buzzed on the bartop. A message from an unknown number. *Found your address. Yu-Fei gave it up for a tenner and a smile. We need to talk. Not about old times. About now. About him. He's here, Rory. Evan's in London. And he's been asking about you.*
created_at"2026-06-24T15:04:39.035Z" 6/24/2026, 3:04:39 PM
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags22
adverbTagCount1
adverbTags
0"She laughed again [again]"
dialogueSentences83
tagDensity0.265
leniency0.53
rawRatio0.045
effectiveRatio0.024
91.28% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2293
totalAiIsmAdverbs4
found
0
adverb"very"
count1
1
adverb"really"
count2
2
adverb"slowly"
count1
highlights
0"very"
1"really"
2"slowly"
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)
76.01% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2293
totalAiIsms11
found
0
word"lilt"
count1
1
word"silk"
count1
2
word"flicked"
count1
3
word"scanned"
count1
4
word"flickered"
count1
5
word"silence"
count2
6
word"absolutely"
count1
7
word"charged"
count1
8
word"eyebrow"
count1
9
word"trembled"
count1
highlights
0"lilt"
1"silk"
2"flicked"
3"scanned"
4"flickered"
5"silence"
6"absolutely"
7"charged"
8"eyebrow"
9"trembled"
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
narrationSentences140
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount2
narrationSentences140
filterMatches
0"know"
1"hear"
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences200
gibberishSentences1
adjustedGibberishSentences1
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount1
maxSentenceWordsSeen84
ratio0.005
matches
0"\"You left, and Eva left, and David wanted to get married and I thought, why not? Why not. Because there was nothing keeping me anywhere anymore. And then I'm standing in a white dr…"
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords37
totalWords2293
ratio0.016
matches
0"Found your address. Yu-Fei gave it up for a tenner and a smile. We need to talk. Not about old times. About now. About him. He's here, Rory. Evan's in London. And he's been asking about you."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions37
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions37
wordCount1047
uniqueNames16
maxNameDensity0.96
worstName"Mara"
maxWindowNameDensity2
worstWindowName"Mara"
discoveredNames
London2
Howell1
Mara10
Silas9
Wednesday1
Waits2
Harder1
Baker2
Empty1
Brixton1
Snakebite1
Chet2
Stopped1
Controlled1
Soho1
Rory1
persons
0"Howell"
1"Mara"
2"Silas"
3"Waits"
4"Baker"
5"Chet"
6"Rory"
places
0"London"
1"Brixton"
2"Soho"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences69
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.436
wordCount2293
matches
0"Not literally, but the kind of quiet"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount2
totalSentences200
matches
0"knew that voice"
1"programmed that thing"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs96
mean23.89
std24.37
cv1.02
sampleLengths
013
13
248
32
424
51
631
777
84
912
1035
114
1232
1328
142
1537
1613
173
1834
192
2048
2120
226
233
2449
255
2623
2728
2818
2934
301
3129
3243
335
3462
354
3612
3731
3811
3990
406
4170
4215
434
4417
4563
4613
4783
4830
498
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences140
matches
0"was gone"
1"being asked"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs191
matches
0"was spitting"
1"was cataloguing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences200
ratio0
matches(empty)
88.36% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1055
adjectiveStacks1
stackExamples
0"same grey-green I"
adverbCount49
adverbRatio0.046445497630331754
lyAdverbCount12
lyAdverbRatio0.011374407582938388
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences200
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences200
mean11.47
std15.12
cv1.319
sampleLengths
013
13
210
34
420
55
69
72
82
916
106
111
129
1322
147
1521
168
1712
1829
194
2010
212
227
2311
246
2511
264
272
2816
2914
3025
313
322
3313
3424
356
362
375
383
3934
402
414
4215
439
442
452
4616
473
488
491
62.00% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats11
diversityRatio0.405
totalSentences200
uniqueOpeners81
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount5
totalSentences116
matches
0"Just held it."
1"Just a hairline fracture, barely"
2"Really looked, for the first"
3"Even the green light from"
4"Then she finished her drink,"
ratio0.043
64.83% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount45
totalSentences116
matches
0"My hand froze around the"
1"I knew that voice."
2"She laughed, but it came"
3"Her collarbone jutted from a"
4"She gestured at herself with"
5"His hazel eyes flicked to"
6"He moved on without a"
7"She kept turning her glass,"
8"She scanned the walls, the"
9"She laughed again"
10"She finished the lager in"
11"I caught Silas's eye."
12"He nodded, already reaching for"
13"He'd heard enough to know"
14"She waved a hand"
15"I watched his back as"
16"She picked up her fresh"
17"I studied her face."
18"She said it simply, without"
19"She finally drank."
ratio0.388
63.45% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount92
totalSentences116
matches
0"The pint glass hit the"
1"My hand froze around the"
2"I knew that voice."
3"The accent was wrong, though."
4"Cardiff lilt flattened by too"
5"She laughed, but it came"
6"The Mara I remembered had"
7"Round-faced, perpetually flushed, the kind"
8"This Mara had cheekbones that"
9"Her collarbone jutted from a"
10"The skin under her eyes"
11"She gestured at herself with"
12"Silas passed behind the bar,"
13"His hazel eyes flicked to"
14"He moved on without a"
15"The man had an instinct"
16"She kept turning her glass,"
17"She scanned the walls, the"
18"Something sharp flickered behind her"
19"The name landed in my"
ratio0.793
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences116
matches(empty)
ratio0
58.82% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences34
technicalSentenceCount4
matches
0"Round-faced, perpetually flushed, the kind of girl who cried at adverts about lost dogs and kept rescue cats she couldn't afford."
1"The skin under her eyes carried a bruised quality that had nothing to do with sleep and everything to do with foundation applied too sparingly over too much gin…"
2"Silas was at the far end, polishing a glass with the focus of a man who could hear every word but knew better than to acknowledge it."
3"Then she finished her drink, set the glass down with a soft thud, and looked at me with those grey-green eyes that hadn't changed at all, not really, not undern…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags22
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags10
fancyCount3
fancyTags
0"She laughed (laugh)"
1"She laughed again (laugh)"
2"I continued (continue)"
dialogueSentences83
tagDensity0.12
leniency0.241
rawRatio0.3
effectiveRatio0.072
90.1584%