Run: 2026-07-25-01KYCSDT8SMDSZRCFEP37FH57K

Run Details

Duration:
19.4s
Cost:
$0.012075
Provider:
BaseTen

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
Rory pulled the heavy brass door of The Raven's Nest and winced at her burnt knuckles, then stepped into that particular Soho hush of old wood and copper pipes. She'd come for the quiet corner near the back wall, not for the ghosts that tended to gather in quiet corners. She'd barely shrugged out of her coat when she saw her. Eva stood by the mahogany bar, one elbow planted on the polished surface, her other hand wrapped round a tumbler of something clear and lethal. She'd cut her hair into a severe black bob that framed her face like a blade, and she wore a charcoal suit that looked tailored in Milan, not bought in panic on Oxford Street the day after fleeing Cardiff with nothing but a duffel bag and a broken phone. Rory's feet moved before her mouth caught up. "Eva." The other woman turned. For one suspended heartbeat, the old recognition flickered, bright and brittle, then settled into something guarded, polished, and foreign. "Rory." The name came out smooth, accented now with something Rory couldn't place, not Welsh, not London, more like calculated neutrality. "Of all the gin joints." "You remember this place?" Rory slid onto the adjacent stool, keeping one foot on the rail, her body angled away like she might bolt. "We came here once, didn't we? After your exams?" "After my exams, yes." Eva set down her glass with a soft, precise clink. Ice shifted, tick-tock. "That was a different century." Rory studied her. The Eva she knew had worn jumpers that swallowed her wrists, had cried over law textbooks in the university library, had left tear-stained notes about Evan that Rory still had folded in a shoebox under her bed. This Eva had cheekbones like architecture and eyes that calculated rather than invited. "You look," Rory started, then stopped. "Different." "I grew up." Eva's mouth curved, not quite a smile. "Some of us had to." The bartender, a broad-shouldered man with grey-streaked auburn hair and a neat beard, materialized with silent precision. His hazel eyes flicked between them, registering old tensions with the ease of a man who'd catalogued human weakness for a living. "What can I get you, love?" "Whisky. The cheap kind." Rory pushed her coat onto the bar. "If you've still got the bottle with the crooked label." "We keep it for the regulars." He turned away, leaving them in that particular silence of old friends who'd run out of small talk years ago. Rory traced the grain of the wood with her thumbnail. "You never answered my messages." "Messages require answers." Eva sipped her drink. "Some questions are better left in the dark." "That sounds like something Evan would say." The air changed. Eva's jaw tightened, almost imperceptible, but Rory caught it, filed it away. The old Eva had flinched when his name came up. This one went still, like a predator locking onto prey. "Evan's dead to me." Eva's voice dropped an octave, lost its polish. "Has been for years." "Good." Rory meant it. "He was poison." "He was necessary." Eva turned the tumbler in her fingers, studying the condensation like it held answers. "You wouldn't understand. You ran away. I stayed and learned how to survive." Rory laughed, sharp and humourless. "I ran away? You sent me that message, Eva. Two in the morning, come get me, he's going to kill me. I came. I drove through the night with a bottle of water and a mobile that barely held charge. And then you disappeared for three years without a word." "I was building something." "Building what? This?" Rory gestured at the suit, the haircut, the calculated stillness. "This armour?" Eva leaned closer. Rory caught a hint of perfume, expensive and cold, nothing like the vanilla body spray they'd shared in university bathrooms. "I build things now, Rory. Companies. Lives. Not... whatever this is." She waved at the bar, at Rory's worn delivery jacket hanging over the stool, at the scuffed boots that had walked Soho pavements for months delivering noodles for Yu-Fei Cheung's Golden Empress. Rory felt the old anger stirring, the one that had driven her from Cardiff, from Evan's shadow, from the version of herself that had been too soft, too accommodating, too Welsh. "I deliver Chinese food part-time and live in a flat above a bar." Rory's voice stayed level, but her fingers curled round the whisky glass the barman had slid her way. "But I sleep at night. I don't have to check my shoulder every time I enter a room." "You think that's weakness?" Eva's blue eyes, changed somehow, older and harder, locked onto hers. "You always did confuse kindness with strength." "No." Rory drank, let the burn settle. "I think you confuse armour with living." They sat with that. Around them, The Raven's Nest hummed with low conversation and the occasional clink of glass. The walls, covered in old maps and black-and-white photographs, seemed to lean in, witnesses to an old wound reopening. Eva pulled a cigarette from her jacket pocket, then paused, looking at Rory. "Still don't smoke?" "Still don't destroy my lungs for stress relief." Rory watched her put the pack away. "Some things don't change, even if everything else does." "Everything changes, Rory." Eva's voice softened, just for a moment, revealing the girl who'd once cried over law exams and shared instant noodles at three in the morning. "Time doesn't ask permission. It takes what it wants, remakes you in its image, and calls it growth." Rory thought of her father, Brendan Carter, with his barrister's robes and disappointed sighs. Of her mother, Jennifer, folding laundry with hands that trembled now. Of the crescent scar on her left wrist, faded but present, a reminder that some wounds never fully heal, they just stop bleeding. "Did you ever think about us?" Rory asked. "About Cardiff? About that summer we were going to drive to Cornwall and never came back?" Every day. Eva's mouth formed the shape of the word, but she said, "Cornwall's overrated. Too many tourists, not enough opportunity." "That's not what I asked." "No." Eva finished her drink, set the glass down with finality. "It wasn't." The bartender returned, his silver signet ring catching the dim light as he set down a fresh round neither had asked for. "On the house." His voice was gravel and authority. "For old friends catching up." Eva smiled, genuinely this time, and Rory saw a flash of the girl she knew, buried deep beneath the Italian suit and the hard eyes. "He thinks we're friends." "We are." Rory turned her glass, watched the amber liquid swirl. "Just not the kind we were." Eva stood, smoothing her jacket. She pulled out a card, black with gold lettering, and slid it across the bar. "If you ever need..." She paused, searching for the right framing. "If you ever need to build something, not just survive. Call me." Rory took the card. Felt the weight of expensive stock, of decisions made in rooms Rory couldn't access. "I don't need to build empires, Eva." "No." Eva stepped back, her silhouette sharp against the green neon glow filtering through the window. "You never did. That was always your strength. And your curse." She walked toward the door, her heels clicking a precise rhythm on the wooden floor. At the threshold, she paused, half-turned. "We could have been great together, Rory. If you'd been willing to grow up." Then she was gone, leaving Rory alone with her whisky and the ghost of vanilla body spray that wasn't really there. Rory sat for a long time. She turned Eva's card over in her fingers, then tucked it into her coat pocket, deep where she might forget it, or might not. The bartender watched her with eyes that had seen too many reunions. "She always paid cash, that one. Never left a trace." "Some people don't want traces." Rory drained her glass, stood, pulled on her coat. The burnt knuckles stung as she gripped the brass handle. She pushed out into the Soho night, into the hum of traffic and distant sirens, into a world where old friends became strangers and strangers sometimes wore the faces of people you once loved. Behind her, The Raven's Nest exhaled, its green neon sign flickering once, twice, then holding steady against the dark. Rory walked north, toward her flat, toward the quiet. But in her pocket, the card waited, heavy with possibility and old betrayal, and she knew, with the certainty that lived in her bones now, that she wouldn't be able to throw it away. Not tonight. Not ever, perhaps. The delivery bag waited by her door. Tomorrow she would carry noodles through these same streets, past this same bar, living her small, honest life. But tonight, she walked with the weight of who Eva had become, and who she herself had refused to be, and somewhere in that space between them, regret settled in for a long stay.
created_at"2026-07-25T14:03:51.976Z" 7/25/2026, 2:03:51 PM
model"thinkingmachines/inkling-20260715"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency285
moderation_latency(null)
generation_time18245
tokens_prompt4445
tokens_completion2227
native_tokens_prompt4137
native_tokens_completion1960
native_tokens_completion_images(null)
native_tokens_reasoning0
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
num_fetches(null)
web_search_engine(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"stop"
service_tier(null)
usage0.012075
router(null)
provider_responses
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endpoint_id"ba2df08c-c0a0-4e0e-9f31-d79a9c475b70"
id"chatcmpl-435fe88522fe4f178a63ba2ced70cc9d"
is_byokfalse
latency285
model_permaslug"thinkingmachines/inkling-20260715"
provider_name"BaseTen"
status200
user_agent"langchainjs-openai/1.0.0 ((node/v24.18.0; linux; x64))"
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api_type"completions"
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upstream_id"chatcmpl-435fe88522fe4f178a63ba2ced70cc9d"
total_cost0.012075
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provider_name"BaseTen"
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data_region"global"

Evaluation details

Result Evaluator Details Meta Data
33.33% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags25
adverbTagCount5
adverbTags
0"Rory started then [then]"
1"He turned away [away]"
2"blue eyes changed somehow [somehow]"
3"Eva's voice softened just [just]"
4"Eva stepped back [back]"
dialogueSentences60
tagDensity0.417
leniency0.833
rawRatio0.2
effectiveRatio0.167
96.67% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1500
totalAiIsmAdverbs1
found
0
adverb"really"
count1
highlights
0"really"
100.00% AI-ism character names
Target: 0 AI-default names (16 tracked, −20% each)
codexExemptions
0"Blackwood"
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
60.00% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1500
totalAiIsms12
found
0
word"flickered"
count1
1
word"calculated"
count3
2
word"flicked"
count1
3
word"silence"
count1
4
word"traced"
count1
5
word"predator"
count1
6
word"trembled"
count1
7
word"reminder"
count1
8
word"weight"
count2
highlights
0"flickered"
1"calculated"
2"flicked"
3"silence"
4"traced"
5"predator"
6"trembled"
7"reminder"
8"weight"
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
narrationSentences79
matches
0"t in panic"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount2
narrationSentences79
filterMatches(empty)
hedgeMatches
0"tended to"
1"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences113
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen50
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1500
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions6
unquotedAttributions0
matches(empty)
13.64% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions79
wordCount1100
uniqueNames21
maxNameDensity2.73
worstName"Rory"
maxWindowNameDensity4.5
worstWindowName"Rory"
discoveredNames
Raven3
Nest3
Soho3
Milan1
Oxford1
Street1
Cardiff2
Rory30
Welsh2
London1
Eva21
Ice1
Evan2
Yu-Fei1
Cheung1
Golden1
Empress1
Brendan1
Carter1
Jennifer1
Italian1
persons
0"Raven"
1"Nest"
2"Rory"
3"Eva"
4"Ice"
5"Evan"
6"Yu-Fei"
7"Cheung"
8"Empress"
9"Brendan"
10"Carter"
11"Jennifer"
places
0"Soho"
1"Milan"
2"Oxford"
3"Street"
4"Cardiff"
5"London"
globalScore0.136
windowScore0.167
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences63
glossingSentenceCount1
matches
0"not quite a smile"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.667
wordCount1500
matches
0"not bought in panic on Oxford Street the day after fleeing Cardiff with nothing but a duffel bag"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences113
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs63
mean23.81
std15.52
cv0.652
sampleLengths
050
111
274
38
41
523
626
733
822
953
107
1115
1239
136
1421
1526
1615
1715
187
1935
2016
217
2230
2355
244
2515
2623
2743
2831
2949
3022
3114
3238
3313
343
3524
3646
3748
3824
3921
405
4113
4222
4314
4425
454
4617
4720
4823
4918
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences79
matches
0"was gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs185
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences113
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1108
adjectiveStacks0
stackExamples(empty)
adverbCount42
adverbRatio0.03790613718411552
lyAdverbCount4
lyAdverbRatio0.0036101083032490976
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences113
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences113
mean13.27
std10.03
cv0.755
sampleLengths
029
121
211
325
449
58
61
74
819
921
105
1124
129
1314
143
155
163
1737
1813
196
201
2110
225
2317
2422
256
2611
2710
2826
2910
305
317
328
337
343
3512
3610
3710
3812
394
404
413
4217
4313
445
4550
464
4713
482
493
57.82% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats8
diversityRatio0.3893805309734513
totalSentences113
uniqueOpeners44
43.86% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences76
matches
0"Then she was gone, leaving"
ratio0.013
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount13
totalSentences76
matches
0"She'd come for the quiet"
1"She'd barely shrugged out of"
2"She'd cut her hair into"
3"His hazel eyes flicked between"
4"He turned away, leaving them"
5"She waved at the bar,"
6"They sat with that."
7"His voice was gravel and"
8"She pulled out a card,"
9"She paused, searching for the"
10"She walked toward the door,"
11"She turned Eva's card over"
12"She pushed out into the"
ratio0.171
38.95% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount64
totalSentences76
matches
0"Rory pulled the heavy brass"
1"She'd come for the quiet"
2"She'd barely shrugged out of"
3"Eva stood by the mahogany"
4"She'd cut her hair into"
5"Rory's feet moved before her"
6"The other woman turned."
7"The name came out smooth,"
8"Rory slid onto the adjacent"
9"Eva set down her glass"
10"Ice shifted, tick-tock."
11"Rory studied her."
12"The Eva she knew had"
13"This Eva had cheekbones like"
14"Rory started, then stopped"
15"Eva's mouth curved, not quite"
16"The bartender, a broad-shouldered man"
17"His hazel eyes flicked between"
18"Rory pushed her coat onto"
19"He turned away, leaving them"
ratio0.842
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences76
matches(empty)
ratio0
23.81% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences36
technicalSentenceCount6
matches
0"She'd cut her hair into a severe black bob that framed her face like a blade, and she wore a charcoal suit that looked tailored in Milan, not bought in panic on…"
1"The Eva she knew had worn jumpers that swallowed her wrists, had cried over law textbooks in the university library, had left tear-stained notes about Evan that…"
2"His hazel eyes flicked between them, registering old tensions with the ease of a man who'd catalogued human weakness for a living."
3"Rory felt the old anger stirring, the one that had driven her from Cardiff, from Evan's shadow, from the version of herself that had been too soft, too accommod…"
4"Of her mother, Jennifer, folding laundry with hands that trembled now."
5"But in her pocket, the card waited, heavy with possibility and old betrayal, and she knew, with the certainty that lived in her bones now, that she wouldn't be …"
85.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags25
uselessAdditionCount2
matches
0"Eva's mouth curved, not quite a smile"
1"Rory's voice stayed, but her fingers curled round the whisky glass the barman had slid her way"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags1
fancyCount0
fancyTags(empty)
dialogueSentences60
tagDensity0.017
leniency0.033
rawRatio0
effectiveRatio0
81.7690%