Run: 2026-07-25-01KYD62B4XQMB10C6A6ZX3881Y

Run Details

Duration:
2m 8s
Cost:
$0.053051
Provider:
Moonshot AI

Model input

System
You are an expert and award-winning novel writer in the dark Romance 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="4415" name="Lucien Moreau" aliases="Lucien, Luc, the Frenchman" pronouns="he/him" species="Half-Demon" storyRole="Ally"> <eyeColor>heterochromatic — one amber, one black</eyeColor> <hair>slicked-back platinum blond</hair> <height>5'11"</height> <age>32</age> <cane>ivory-handled cane that conceals a thin blade</cane> <dress>tailored charcoal suits</dress> <description>An impeccably dressed fixer and information broker in London's supernatural underworld. He speaks four languages fluently.</description> <backstory>Born in Marseille to a human mother and a demon father from the realm of Avaros.</backstory> </character> <location id="858" name="Eva's Flat" aliases="Eva's place, the flat on Brick Lane" realm="Earth"> <cat>tabby cat named Ptolemy</cat> <security>three deadbolts on the front door</security> <description>A cramped one-bedroom flat above a curry house on Brick Lane, East London. Every surface is covered with books, scrolls, and research notes.</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 romance genre. Two people who parted on complicated terms are forced together again when one shows up unannounced at the other's flat. There's history between them — attraction, hurt, and things left unsaid. Write the scene from the moment the door opens. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The door opened on the last deadbolt and Lucien Moreau filled the corridor. Rory stood barefoot on Eva’s cramped landing, one hand still on the lock, the other buried in a cardigan sleeve. Behind her, Ptolemy abandoned his perch on a tower of scrolls and vanished beneath the sofa. The flat smelled of cumin from downstairs, old paper, and the lavender oil Eva dabbed on every window latch as if superstition could pass for security. Lucien’s charcoal suit carried the dark gloss of rain. No umbrella. No apology. His platinum hair had come loose at one side, which frightened her more than the blood at his cuff. “Three deadbolts,” he said. “Eva still believes hardware can save her.” “She believes in fences. You taught her that.” His mouth moved, not quite a smile. “And you still answer doors at midnight.” “Only when idiots bleed on the bell.” The mismatched eyes held her, amber and black, bright and bottomless. For three months she had invented faces for him in crowds, then hated herself for turning. Now here he stood, close enough that she could see the tiny nick along his jaw where a blade had kissed and missed. “Invite me in, Aurora.” “No.” Ptolemy yowled from under the sofa. Lucien glanced past her at the books stacked on every surface, the chalk symbols taped to the fridge, the mug of tea gone cold beside Eva’s laptop. “You are not staying here alone.” “Brilliant deduction. The cat’s armed.” “This is not amusing.” “Neither is you on this doorstep.” The corridor light flickered. Somewhere beyond the stairwell, Brick Lane murmured with shutters, scooters, the last drunk argument outside the curry house. Normal London, pressed against the wrong kind of night. Lucien lifted his cane between them, ivory handle first, like a peace offering or a warning. “I need to come inside.” “You needed to answer your phone in September.” His fingers tightened on the cane. The cufflink at his wrist caught the light, a dull silver serpent eating its own tail. “Move,” she said. He stepped in before she finished speaking. Not forcing past, not touching, simply occupying the space she had surrendered. The door clicked shut behind him. He reached for the top deadbolt, then the middle, then the lower, sliding each home with the intimacy of a man who had mapped her habits from another life. Rory stayed near the kitchen counter, close to the block of knives Eva never used because the blades were decorative and the danger in this flat rarely cared for steel. Lucien surveyed the room once, fast and thorough. “How long have you been housesitting?” “Since Eva went to Edinburgh. Six days.” “And before that?” “My flat above Silas’.” “Alone.” “You sound surprised.” “I sound homicidal.” She folded her arms. “There he is.” A muscle jumped in his cheek. He set the cane against the wall with care, handle facing inward. The small crescent scar on her left wrist burned cold, as it always did when the air thinned. Childhood accident, her mother used to say. A fall from a wall in Cardiff, a broken flowerpot, stitches. Lately the scar had developed opinions. Lucien noticed. Of course he noticed. “Still hurts?” “Only when men lie in my doorway.” “I have never lied in a doorway.” “No. You lie in libraries. In churches. In bed.” The words struck harder than she intended. His chin dipped, once. Ptolemy crept out, tail low, and stared at Lucien with the offended gravity of a tiny orange judge. Lucien took off his gloves. The blood at his cuff belonged to him. A shallow line crossed his palm, clean and deliberate, not torn by teeth or glass. “You cut yourself,” Rory said. “I opened a door.” “Poetic.” “Expensive.” From his breast pocket he drew a square of black silk and folded it back. Inside lay a coin no larger than a thumbnail, greenish at the edges, stamped with a face that seemed to change when she refused to focus. Ptolemy hissed. Rory’s mouth went dry. “Put that away.” “You recognise it.” “I recognise bad taste.” “Aurora.” Her name in his voice had manners and teeth. He had called her Rory in the summer, laughing against her neck while rain worried the skylight above Silas’ bar. He had called her Carter when he wanted distance. Aurora came out only when the ground shifted. “Why are you here, Lucien?” “Because at half eleven tonight a thing with my father’s accent asked a bookseller in Soho where to find Malphora.” The room narrowed. Rory kept her face still. “Never heard of her.” “Then you should teach your pulse manners.” She hated that he read her without touching. Hated worse that some starved part of her leaned toward the attention. “Malphora is dead,” she said. “Malphora was a rumour with good hair.” “Worked well enough.” “It worked because I let it.” There it was. The old hook, dressed in velvet. She crossed to the sink and ran the tap, though her hands had nothing to wash. Water rattled in the pipes. Downstairs, the curry house extractor fan hummed through the floorboards. “You let me,” she said. “That how you remember it?” “I remember you walking into the Gilt Room with a stolen name and my knife in your boot.” “You gave me that knife.” “I gave you twelve seconds to live differently. You made a religion of them.” She shut off the tap. Silence pressed in, broken by Ptolemy licking one paw as if scandalised. Lucien moved to the table and stood over Eva’s research without touching it. His gaze skimmed a Latin marginal note, a photograph of a doorway in Marseille, a map of London pricked with red pins. At the sight of the map he stopped. “Who made this?” “Eva.” “No.” He turned a pin between finger and thumb. “This is your hand.” “Congratulations.” “These are not hauntings.” “No?” “These are doors.” Rory took the pin from him. Their fingers brushed. Heat shot up her arm, absurd and immediate. She stepped back first. “You don’t get to do that,” she said. “Do what?” “Vanish, then return fluent in the endings of the world.” His expression closed. “I did not vanish.” “I left seventeen messages.” “I read none.” “That is worse.” “I know.” The honesty landed between them, ugly as a pulled tooth. Rory wanted to throw something. Instead she put the coin on the counter and kept her hand flat beside it so it would not shake. “Start at the part where you make sense,” she said. Lucien drew a breath. For the first time he looked tired beneath the polish, human in the places demons usually wore smooth. “My father sent collectors into London in August. Not for artefacts. For names. Yours surfaced because of Evan.” Her stomach dropped. “Evan is a solicitor with a gambling problem and a small god complex.” “Evan sold a memory of you to pay a debt.” “That is not possible.” “In Avaros, memory is currency. On Earth, it is gossip, photographs, a girl’s fear left on a pillow. Enough of it buys a scent.” Rory gripped the counter. The laminate edge bit her palm. “I left Evan. I changed cities. I changed jobs. I changed everything but my face.” “Your face was never the problem.” Something in the hall scratched, soft as a nail along paint. Both of them went still. Ptolemy flattened under the table. The building’s ordinary noises continued, a pipe ticking, a bus sighing at the lights, but beneath them came another rhythm. Scratch. Pause. Scratch. Patient as mould. Lucien reached for his cane without looking. “How many ways out?” “Front. Kitchen window to the drainpipe. Roof hatch through the cupboard if Eva’s landlord lied about locking it.” “He lied?” “Eva bribed him with first editions.” “Of course she did.” The scratching stopped. Rory moved to the fridge and peeled back the lowest chalk symbol. Beneath it sat a little steel tin marked with Eva’s handwriting, SALT, DO NOT EAT. She flicked the lid and dragged a line across the threshold with her fingers. The grains glowed faintly where they touched old ward-chalk. Lucien watched, amber eye warm, black eye unreadable. “You kept your hand in.” “I deliver noodles, Lucien. I don’t hunt nightmares.” “Noodles were never the only cargo.” She straightened. “If you came to audit my life, there is the door. Bleed outside it.” “I came because the thing in Soho wore your voice.” The room tilted. Not much. Enough. Outside, the landing light died. Darkness leaned against the frosted glass above the door. A shape filled it, too tall for the corridor, shoulders brushing both sides. It did not knock. It breathed, and the glass misted from the wrong side. Lucien’s cane came apart with a whisper. Ivory handle in his left hand, thin bright blade in his right. Rory’s scar flared so sharply she hissed. The thing beyond the glass inhaled. Her name moved through the door without using her ears, not Aurora, not Rory, but Laila, the private one Eva used when drunk, the one no collector should own. “Lucien.” “Do not answer.” “I wasn’t planning to chat.” The salt line sparked. One grain popped like a tiny bone. Lucien shifted closer, not shielding her, offering his shoulder to hers. The old geometry returned with insulting ease, her quick angles, his stillness, the space between them where trust had once fitted like a key. “When I say run,” he murmured, “you run toward the roof, not the street.” “When did I ever follow your stage directions?” “August. Badly.” The handle turned. All three deadbolts stayed locked. The handle turned anyway. Rory snatched the black silk coin from the counter and hurled it into the sink. Metal struck enamel with a bell-clear note. Every symbol taped to the fridge lifted at the corners, as if the flat itself had taken a breath. Lucien swore in French, soft and vicious. The door bowed inward around its locks. Wood creaked. The misted glass spelled a word from the inside, letters blooming and vanishing. FOUND. Rory grabbed Eva’s iron poker from beside the dead stove. It felt ridiculous. It felt perfect. Lucien looked at her then, truly looked, and the three months tore open between them, all the unsent messages, the empty side of the bed, the way safety had rotted into a locked room. “I came back,” he said. The first deadbolt tore from the frame. “Bad timing,” Rory answered, and swung as the door burst open.
created_at"2026-07-25T17:44:47.526Z" 7/25/2026, 5:44:47 PM
model"moonshotai/kimi-k3-20260715"
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generation_time128394
tokens_prompt4383
tokens_completion3844
native_tokens_prompt4190
native_tokens_completion3436
native_tokens_completion_images(null)
native_tokens_reasoning1003
native_tokens_cached4096
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
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num_fetches(null)
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is_byokfalse
finish_reason"stop"
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endpoint_id"650c9b12-7b6d-444d-8d92-df8daef84d7a"
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latency3246
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags11
adverbTagCount0
adverbTags(empty)
dialogueSentences89
tagDensity0.124
leniency0.247
rawRatio0
effectiveRatio0
94.30% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1755
totalAiIsmAdverbs2
found
0
adverb"sharply"
count1
1
adverb"truly"
count1
highlights
0"sharply"
1"truly"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
65.81% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1755
totalAiIsms12
found
0
word"flickered"
count1
1
word"silk"
count2
2
word"pulse"
count1
3
word"velvet"
count1
4
word"silence"
count1
5
word"stomach"
count1
6
word"complex"
count1
7
word"flicked"
count1
8
word"unreadable"
count1
9
word"whisper"
count1
10
word"perfect"
count1
highlights
0"flickered"
1"silk"
2"pulse"
3"velvet"
4"silence"
5"stomach"
6"complex"
7"flicked"
8"unreadable"
9"whisper"
10"perfect"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"stomach dropped/sank"
count1
highlights
0"stomach dropped"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences136
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences136
filterMatches(empty)
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences214
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen34
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1755
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions20
unquotedAttributions0
matches(empty)
85.69% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions58
wordCount1244
uniqueNames15
maxNameDensity1.29
worstName"Lucien"
maxWindowNameDensity2
worstWindowName"Lucien"
discoveredNames
Lucien16
Moreau1
Eva8
Ptolemy6
Brick1
Lane1
London2
Cardiff1
Rory15
Carter1
Latin1
Marseille1
Aurora2
Laila1
French1
persons
0"Lucien"
1"Moreau"
2"Eva"
3"Ptolemy"
4"Rory"
5"Carter"
6"Aurora"
7"Laila"
places
0"Brick"
1"Lane"
2"London"
3"Cardiff"
4"Marseille"
5"French"
globalScore0.857
windowScore1
90.48% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences84
glossingSentenceCount2
matches
0"not quite a smile"
1"face that seemed to change when she refused to focus"
86.04% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.14
wordCount1755
matches
0"not Aurora, not Rory, but Laila, the private one Eva used"
1"not Rory, but Laila, the private one Eva used"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences214
matches
0"hated that he"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs132
mean13.3
std13.69
cv1.029
sampleLengths
013
162
232
311
48
514
67
750
84
91
106
1133
125
134
146
1531
1621
178
1822
193
2054
2130
2214
237
243
254
261
273
283
297
3060
316
322
337
347
359
3629
3728
385
394
401
411
4241
432
447
453
464
471
4846
495
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences136
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs227
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences214
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount821
adjectiveStacks0
stackExamples(empty)
adverbCount20
adverbRatio0.024360535931790498
lyAdverbCount5
lyAdverbRatio0.0060901339829476245
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences214
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences214
mean8.2
std6.5
cv0.792
sampleLengths
013
120
216
326
49
52
62
719
84
97
108
117
127
137
1411
1516
1623
174
181
196
2027
216
225
234
246
254
2618
279
2816
295
308
316
3216
333
347
3512
366
3729
3830
398
406
417
423
434
441
453
463
474
483
496
65.11% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats9
diversityRatio0.4158878504672897
totalSentences214
uniqueOpeners89
86.96% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences115
matches
0"Somewhere beyond the stairwell, Brick"
1"Of course he noticed."
2"Instead she put the coin"
ratio0.026
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount26
totalSentences115
matches
0"His platinum hair had come"
1"His mouth moved, not quite"
2"His fingers tightened on the"
3"He stepped in before she"
4"He reached for the top"
5"She folded her arms."
6"He set the cane against"
7"His chin dipped, once."
8"Her name in his voice"
9"He had called her Rory"
10"He had called her Carter"
11"She hated that he read"
12"She crossed to the sink"
13"She shut off the tap."
14"His gaze skimmed a Latin"
15"He turned a pin between"
16"Their fingers brushed."
17"She stepped back first."
18"His expression closed."
19"Her stomach dropped."
ratio0.226
51.30% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount94
totalSentences115
matches
0"The door opened on the"
1"Rory stood barefoot on Eva’s"
2"The flat smelled of cumin"
3"Lucien’s charcoal suit carried the"
4"His platinum hair had come"
5"His mouth moved, not quite"
6"The mismatched eyes held her,"
7"Ptolemy yowled from under the"
8"Lucien glanced past her at"
9"The corridor light flickered."
10"Lucien lifted his cane between"
11"His fingers tightened on the"
12"The cufflink at his wrist"
13"He stepped in before she"
14"The door clicked shut behind"
15"He reached for the top"
16"Rory stayed near the kitchen"
17"Lucien surveyed the room once,"
18"She folded her arms."
19"A muscle jumped in his"
ratio0.817
43.48% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences115
matches
0"Now here he stood, close"
ratio0.009
98.21% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences48
technicalSentenceCount3
matches
0"The flat smelled of cumin from downstairs, old paper, and the lavender oil Eva dabbed on every window latch as if superstition could pass for security."
1"His platinum hair had come loose at one side, which frightened her more than the blood at his cuff."
2"Inside lay a coin no larger than a thumbnail, greenish at the edges, stamped with a face that seemed to change when she refused to focus."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags11
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags10
fancyCount2
fancyTags
0"He had (have)"
1"he murmured (murmur)"
dialogueSentences89
tagDensity0.112
leniency0.225
rawRatio0.2
effectiveRatio0.045
92.2461%