Run: 2026-07-25-01KYD6W1ZTE7HTSM4SFYGSSGX0

Run Details

Duration:
1m 46s
Cost:
$0.040916
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 knock came again, three raps, patient as a debt collector. Rory set down Eva's copy of the Malleus Maleficarum and looked at Ptolemy. The tabby had gone rigid on the windowsill, tail puffed to twice its size, eyes fixed on the front door. "Friend of yours?" The cat said nothing. Cats never did, which was half the reason she preferred them. She crossed the cramped sitting room, stepping over a drift of scrolls Eva had sworn she'd catalogue weeks ago. The flat above the curry house smelled of turmeric and old paper, and the floorboard by the door creaked the way it always did, a warning shot for anyone clever enough to listen. Rory put her eye to the peephole. Her stomach dropped through the floorboards and kept going. Platinum hair, slicked back. Charcoal suit cut so sharp it could file a statement. An ivory-handled cane resting against his thigh with the casual menace of a man who had never once needed it for walking. Lucien Moreau. Eight months. Eight months of silence, and here he stood on a Tuesday, immaculate as sin. She opened one deadbolt. Then the second. She left the third on and pulled the door to the length of the chain. "No." "Good evening to you too, chérie." "That's not a greeting, it's a negotiation tactic, and it's not working." She kept her voice level. Cool-headed, Eva always called her. Cool-headed people did not notice the way lamplight caught the amber of his left eye, or how the black one swallowed it whole. "Eva's in Edinburgh. Whatever you're selling, she's not buying." "I'm not here for Eva." "Then you're definitely not coming in." He tilted his head. The hallway light threw his cheekbones into relief, and she hated that she noticed, hated the small treacherous part of her that had memorised the geography of his face sometime last spring and refused to surrender the map. "You opened the door," he said. "To tell you to go away. Politely. This is me being polite. You should see the alternative." "I have seen the alternative. Cardiff, last March. You threw a stapler at my head." "You deserved the stapler." "I did." No hesitation. No defence. That unsettled her more than any argument could have. "Open the door, Rory." The way he said her name. Not Aurora, never Aurora, none of that Laila business from the restaurant either. Just Rory, in that Marseille-accented rumble, like the name belonged in his mouth. "What do you want, Lucien?" "Five minutes." "You had eight months of minutes." "And I regret the arithmetic." His fingers adjusted on the cane's ivory handle. A tell. She'd catalogued his tells once, back when cataloguing Lucien Moreau felt like a worthy use of a law student's mind. Pressure on the cane meant stakes. Real ones. "Please." The please cost him. She watched it cost him. She shut the door, slid the chain, and opened it again. She did not step aside far. He filled the doorway anyway, the way smoke fills a room, uninvited and everywhere. Ptolemy bolted from the windowsill and vanished under Eva's bed. "Even the cat remembers you," Rory said. "That cat has never liked me." "The cat is an excellent judge of character. Sit anywhere that isn't covered in summoning diagrams. Good luck." He moved through the flat the way he moved through everything, like he'd surveyed it before entering, noting the books stacked on every surface, the chalk circles half-erased from the floorboards, the kettle whistling itself into hysterics on the stove. Rory killed the flame. She did not offer tea. Hospitality was a door she refused to open twice in one night. "Four minutes," she said. He turned to face her, and something in his expression made the room feel smaller than it already was. "You look well." "Don't." "I mean it. London suits you better than fear did." Her hand found the edge of Eva's desk. Anchored. "Is that what this is? A wellness check? You vanish off the face of the earth in April, no note, no call, nothing, and now you're standing in my friend's flat telling me I look well?" "I vanished because staying would have put a target on your back the size of the Millennium Stadium." "And now?" "Now the target found you anyway." The flat went quiet except for the pipes ticking in the walls. "Three minutes." "Evan Holloway made a bargain, Rory." The name landed like ice water down her spine. Evan. Her Evan, or the man she'd thought was hers, the one whose apologies always arrived with flowers and whose hands never matched his promises. She'd left Cardiff with one bag and a bruise shaped like his grip on her upper arm. She had not spoken his name aloud in two years. "Evan's a solicitor from Pontcanna," she said. "Evan's biggest bargain is getting his mother to pay his car insurance." "Evan is a solicitor from Pontcanna who got drunk in the wrong club in Splott and promised something he shouldn't have to something that collects." Lucien's voice stayed level, which made it worse. "He gave them a name. Yours." The kettle clicked as it cooled. Somewhere below, the curry house's extractor fan hummed its endless note. "You're lying." "I have never lied to you. Omitted, certainly. Strategised, frequently. But never lied." "Why would he, why would anyone," she stopped. Reordered her thoughts the way her father had taught her, barrister's daughter, facts before feelings. "When?" "Six weeks ago. The contract surfaced in Avaros last month. My father's people flagged it because the name was attached to a secondary clause." He reached into his jacket, slowly, the way a man moves when he knows he's standing near someone with a history of throwing staplers. He produced a folded sheet of heavy cream paper. "The debt isn't transferable. But there's a retrieval clause. Whoever brings you to the signing table inherits what Evan owes." She didn't take the paper. "What's the secondary clause?" Silence. "Lucien." "Me." The word sat between them on Eva's cluttered floor. "He named you," she said. "As part of the price." "He knew I got you out of Cardiff. He knew what I am. Clever boy, in his vicious little way. He wagered that my, " a pause, the cane's handle creaking under his fingers, "associates would choose the debt over me, and that I'd be too occupied staying alive to warn you." "Eight months," she said. "That's what the silence was. You staying alive." "Mostly." "You could have sent a postcard. Wish you weren't here. Having a lovely time not being murdered." "Any contact would have led them to you. I chose, " "You chose." The words came out flatter than she intended, and somehow that was worse than shouting. "You chose for both of us. Again. Just like April, when you decided I couldn't handle knowing what you were, and I had to find out from a fangbanger in a Soho stairwell while you were conveniently across the Channel." "You had just escaped one man who controlled your life. I refused to become another who frightened you." "That wasn't your call!" "No," he said quietly. "It wasn't." The admission stole the wind from the argument. She hated that too. She'd prepared for deflection, for charm, for the smooth Moreau deflection she'd once watched dismantle a roomful of Veryon syndicate men without a single raised voice. She had not prepared for surrender. Ptolemy crept out from under the bed, wound once around Lucien's ankles, and looked up at her as if to say, he smells like gunpowder and grief, this one. "Traitor," she told the cat. "He likes me," Lucien said. "He's lending you warmth so you live long enough for me to kill you properly. There's a difference." Something shifted in his face then. The polished mask cracked at the corner, just slightly, and she caught a glimpse of the man underneath, tired, hollowed out, eight months of running written in the shadows beneath those mismatched eyes. "Every day," he said. "Every single day I drafted the letter. Je m'ennuie de toi. That's the closest French comes to it. It means you are missing from me. As if a piece of me stayed behind in that miserable flat above Silas' bar and the rest of me has been walking around incomplete." "Don't do this." "You asked why I came. That's why. Not the contract. Not Evan. I could have handled both from Marseille. I came because the thought of you facing this alone, thinking I abandoned you, " "Your five minutes are up." They both heard it at the same time. The stairwell door, two floors below. It never closed on its own. Mrs Bhatti from the curry house propped it open with a brick every morning and kicked it shut at midnight, and it was barely nine. Ptolemy's spine arched. A sound came out of the cat that Rory had heard exactly once before, the night Eva's wards failed and something with too many joints tried the window. Lucien moved. The cane came apart in his hands, ivory handle in his left, a thin gleaming blade in his right, and suddenly the courteous fixer was gone and something older stood in his place, something that had learned its manners in a realm where courtesy was a blood sport. "How many?" she asked, already reaching for Eva's emergency kit under the sink, chalk, salt, the little silver knife. "Three heartbeats on the stairs. One on the fire escape." His head cocked, listening to things she couldn't hear. "Rory. The window behind the bookshelf. It opens onto the neighbour's roof." "I'm not leaving you." "I wasn't asking you to." The black eye gleamed. "I was asking you to cover me while I open it. We're leaving together, chérie. This time, I swear it on my father's name, we leave together or not at all." The footsteps on the stairs had stopped. That was worse. That was so much worse. The three deadbolts on Eva's door began, one by one, to turn.
created_at"2026-07-25T17:58:50.113Z" 7/25/2026, 5:58:50 PM
model"moonshotai/kimi-k3-20260715"
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tokens_completion2879
native_tokens_prompt4190
native_tokens_completion2627
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native_tokens_reasoning398
native_tokens_cached4096
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num_input_audio_prompt(null)
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags20
adverbTagCount1
adverbTags
0"he said quietly [quietly]"
dialogueSentences72
tagDensity0.278
leniency0.556
rawRatio0.05
effectiveRatio0.028
91.08% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1681
totalAiIsmAdverbs3
found
0
adverb"slowly"
count1
1
adverb"slightly"
count1
2
adverb"suddenly"
count1
highlights
0"slowly"
1"slightly"
2"suddenly"
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)
67.28% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1681
totalAiIsms11
found
0
word"stomach"
count1
1
word"silence"
count3
2
word"treacherous"
count1
3
word"unsettled"
count1
4
word"down her spine"
count1
5
word"charm"
count1
6
word"warmth"
count1
7
word"gleaming"
count1
8
word"footsteps"
count1
highlights
0"stomach"
1"silence"
2"treacherous"
3"unsettled"
4"down her spine"
5"charm"
6"warmth"
7"gleaming"
8"footsteps"
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
narrationSentences97
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences97
filterMatches
0"feel"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences148
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen51
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1684
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions25
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions43
wordCount1005
uniqueNames17
maxNameDensity0.9
worstName"Eva"
maxWindowNameDensity1.5
worstWindowName"Eva"
discoveredNames
Eva9
Malleus1
Maleficarum1
Ptolemy4
Moreau3
Tuesday1
Cool-headed2
Aurora2
Laila1
Rory6
Marseille-accented1
Lucien6
Evan2
Cardiff1
Reordered1
Veryon1
Bhatti1
persons
0"Eva"
1"Ptolemy"
2"Moreau"
3"Laila"
4"Rory"
5"Lucien"
6"Evan"
7"Veryon"
8"Bhatti"
places
0"Cardiff"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences59
glossingSentenceCount1
matches
0"felt like a worthy use of a law student"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1684
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences148
matches
0"hated that she"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs87
mean19.36
std18.18
cv0.939
sampleLengths
011
133
23
315
459
59
636
718
822
91
106
1154
125
136
1442
156
1617
1715
184
1919
2032
215
222
236
2444
259
2631
2710
287
296
3018
3161
324
3319
343
351
3610
3745
3818
392
406
4112
422
436
4461
4519
4639
4717
482
4913
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences97
matches
0"was gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs176
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences148
ratio0
matches(empty)
97.75% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1010
adjectiveStacks0
stackExamples(empty)
adverbCount43
adverbRatio0.04257425742574258
lyAdverbCount6
lyAdverbRatio0.005940594059405941
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences148
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences148
mean11.38
std10.98
cv0.965
sampleLengths
011
113
220
33
44
511
619
733
87
99
104
1110
1222
132
142
1514
164
173
1815
191
206
2117
225
2323
249
255
266
274
2838
296
3017
3115
324
334
342
359
364
376
3813
3913
405
412
426
4313
442
4520
466
472
481
494
55.63% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats16
diversityRatio0.39864864864864863
totalSentences148
uniqueOpeners59
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences78
matches
0"Then the second."
1"Just Rory, in that Marseille-accented"
2"Somewhere below, the curry house's"
ratio0.038
61.03% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount31
totalSentences78
matches
0"She crossed the cramped sitting"
1"Her stomach dropped through the"
2"She opened one deadbolt."
3"She left the third on"
4"She kept her voice level"
5"He tilted his head."
6"His fingers adjusted on the"
7"She'd catalogued his tells once,"
8"She watched it cost him."
9"She shut the door, slid"
10"She did not step aside"
11"He filled the doorway anyway,"
12"He moved through the flat"
13"She did not offer tea."
14"He turned to face her,"
15"Her hand found the edge"
16"Her Evan, or the man"
17"She'd left Cardiff with one"
18"She had not spoken his"
19"He reached into his jacket,"
ratio0.397
11.28% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount70
totalSentences78
matches
0"The knock came again, three"
1"Rory set down Eva's copy"
2"The tabby had gone rigid"
3"The cat said nothing."
4"Cats never did, which was"
5"She crossed the cramped sitting"
6"The flat above the curry"
7"Rory put her eye to"
8"Her stomach dropped through the"
9"Platinum hair, slicked back."
10"Charcoal suit cut so sharp"
11"An ivory-handled cane resting against"
12"She opened one deadbolt."
13"She left the third on"
14"She kept her voice level"
15"He tilted his head."
16"The hallway light threw his"
17"That unsettled her more than"
18"The way he said her"
19"His fingers adjusted on the"
ratio0.897
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences78
matches(empty)
ratio0
79.83% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences34
technicalSentenceCount3
matches
0"An ivory-handled cane resting against his thigh with the casual menace of a man who had never once needed it for walking."
1"The hallway light threw his cheekbones into relief, and she hated that she noticed, hated the small treacherous part of her that had memorised the geography of …"
2"The cane came apart in his hands, ivory handle in his left, a thin gleaming blade in his right, and suddenly the courteous fixer was gone and something older st…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags20
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags12
fancyCount1
fancyTags
0"The words came out (come out)"
dialogueSentences72
tagDensity0.167
leniency0.333
rawRatio0.083
effectiveRatio0.028
88.7959%