Run: 2026-09-01-01M1EMXSRDC4C53RRS9J0WH0EB

Run Details

Duration:
1m 32s
Cost:
$0.015462
Provider:
DeepInfra

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 deadbolt clicked back, and I pulled Eva’s door open, expecting the usual narrow hallway and Ptolemy’s indignant yowl from somewhere in the stacks of books that lined every wall. Instead, Lucien Moreau filled the doorway, all charcoal tailoring and pressed silver hair, his heterochromatic eyes catching the dim bulb overhead like a predator sizing up prey he already owned. I did not reach for the second lock. I did not call out. My brain went quiet, cool-headed, calculating how long he had been waiting, which deadbolt he had picked, and whether the ivory-handled cane in his grip concealed the thin blade I knew he carried. “Rory,” he said. His voice carried that polished French-tinged precision, four languages folded into one smooth sentence. “You look unchanged. I was told you might be here.” “I’m here,” I said, my voice steadier than the flutter in my stomach. “But you should not be. There are three deadbolts on this door, Lucien. Your card does not open them, and I did not hear a knock.” “My apologies,” he said, stepping inside without waiting for an invitation. The door bumped against a stack of leather-bound journals, sending one toppling. He caught it with his free hand, the cane tapping a sharp rhythm against the floorboards. “The building’s architecture is accommodating. And I prefer not to announce myself when the alternative is an awkward introduction over curry fumes.” He moved into Eva’s flat with the ease of a man who had slipped through worse traps. The space was cramped, a one-bedroom above a curry house on Brick Lane where every surface groaned with books, scrolls, and research notes that Eva had scattered like breadcrumbs for some occult hunt. Above us, the floorboards creaked with the echoes of kitchen life, and the air smelled of turmeric and old paper. Ptolemy, Eva’s tabby cat, sat atop a tower of handwritten scrolls near the window, his green eyes staring at Lucien with feline suspicion. “I told you not to come,” I said, but I stepped back to let him pass, my left wrist brushing my side. The small crescent-shaped scar from my childhood accident caught a thin line of light, a pale reminder of things untouched. Lucien’s cane clicked against the floorboards, a tick-tock rhythm that matched the pulse in my throat. He set it beside the door, and for a moment, the blade inside remained hidden, a secret between them older than their silence. “You told me a great deal of things,” he replied. “Most of them were lies, or at least omissions. I thought I might correct that balance in person.” “I don’t owe you corrections,” I said. My black hair hung straight to my shoulders, damp with the London chill, and I pulled my coat tighter, though the flat was warm enough to smell of burning charcoal and old ink. “You vanished after the last job, Lucien. You left me to clean up your mess with the Avaros lot, and then you disappeared into Marseille for three months. That is not an omission. That is a goodbye.” His amber eye narrowed, while the black one stayed cold, assessing. He wore a tailored charcoal suit that fit him like a second skin, and his platinum hair was slicked back with the kind of care that suggested he had spent the night preparing for exactly this moment. “I vanished because you would not speak to me,” he said softly. “Because every time I reached for you, you pulled away like I was carrying a blade. And perhaps I am. But I am also here, now, because I cannot stay away. The underworld is restless, Rory. Your abuser is not the only one who knows where you live.” The word struck like a needle. Evan. The name still turned my stomach, a phantom taste of control and violence. I crossed my arms, but my posture was defensive, not hidden. “You don’t get to use him as an excuse. You left because you thought I was weak, or because your demon blood demanded something I wouldn’t give. Which is it?” “Neither,” Lucien said, and he stepped closer, close enough that I caught the scent of something dark and expensive beneath his cologne, something that smelled of iron and old contracts. “I left because I was terrified that I would hurt you. Not by accident. By design. I broker information, Rory. I trade in secrets. And the secret of you, the way you think, the way you hold your scars, the way your mouth twists when you’re afraid, that is the most dangerous possession I have ever held.” I should have told him to leave. The deadbolts existed for a reason. Eva’s flat was a sanctuary, a cramped one-bedroom above a curry house where books formed walls and Ptolemy kept watch. But I did not move to open the door. Instead, my gaze dropped to his hand, resting near his cane, and I noticed the faint tremor in his fingers. “You came because you’re jealous,” I said, stepping around the stack of scrolls. The room was too small, too full of papers and the weight of Eva’s research. Every step felt like navigating a maze of someone else’s obsession. “Jealousy is a human emotion,” Lucien said. “What I feel is possession. You belong to the life I built for you, and I will not apologise for that.” “I don’t belong to you,” I snapped, but my heart hammered. The attraction was still there, buried under layers of hurt and the knowledge that he was half-demon, a fixer who spoke four languages fluently and killed with the same precision he used to dress. “I belong to myself. I work part-time delivering food for Yu-Fei Cheung’s Golden Empress restaurant, and I study, and I survive. You don’t get to claim ownership because you decided to drop in uninvited.” “I’m not claiming,” he said, and he lifted his hand, his fingers extending toward my wrist. “I’m reminding you of the scar. The crescent on your left wrist. You told me once that it was from a childhood accident. You never told me the truth. And yet you stand here, in Eva’s flat, with three deadbolts and a cat that dislikes me, because some part of you wants to see if I still remember every detail.” My breath hitched. He knew. Of course he knew. He was Lucien Moreau, a fixer who trafficked in the hidden truths of London’s supernatural underworld, born in Marseille to a human mother and a demon father from Avaros. “I remember,” I said quietly. “I remember that you lied. I remember that you used information about Eva to get close to me, and I remember that you let me believe I was safe when I wasn’t.” His fingers brushed my scar, light as a whisper, tracing the crescent shape. The touch sent electricity through my arm, a dark, dangerous current that made me want to pull away and lean in simultaneously. “You were safe,” he said, his voice dropping to something intimate, dangerous, like a blade sliding between ribs. “You were safe because I was watching. Because I made sure your ex never found you in this flat. Because when you fled to London at Eva’s behest, I was already arranging for the deadbolts to be installed. You think I left you? I protected you from a distance, Rory. And now that the Avaros lot is stirring, I am here because you need protection, not because I am greedy for your company.” The revelation hit me like a cold shock. He had arranged the deadbolts? He had been protecting me? But then why the hurt? Why the silence? “I don’t want your protection if it comes with strings,” I said, but my voice had lost its edge. I was twenty-five, cool-headed, intelligent, quick at out-of-the-box thinking, but Lucien had a way of dismantling my defences with nothing but proximity and truth. “The strings are already tied,” he said. He stepped closer still, his tailored suit brushing mine, his amber eye gleaming with something half-demon and wholly real. “You and I are tied by whatever happened in the dark. You felt it. You ran from it because it was too much, too dangerous. But you haven’t stopped feeling it. The reason you are here, in Eva’s flat, with the books and the cat and the smell of curry, is because you knew I would find you eventually. And you wanted to see if I would still want you when there was nothing left to trade.” That was too close. Too true. I should have slapped him. Instead, I swallowed hard, my bright blue eyes meeting his heterochromatic gaze, and felt the pull of him like gravity. “You’re arrogant,” I said, but it sounded like a confession. “I am many things,” Lucien replied. He lowered his head, his lips a breath from mine, his voice murmuring against my mouth. “I am a fixer. I am a half-demon. I am a man who speaks four languages fluently and still struggles to find the words for you in any of them. And I am here because the underworld is calling, but also because my heart is calling, and I have never listened to either as loudly as I do now.” Before I could pull back, before I could decide whether to kiss him or shove him out, Ptolemy hissed. The tabby cat’s fur stood up in a ridge along his spine, his green eyes fixed not on Lucien, but on the open door behind us. The deadbolts were unlocked. The door was wide open, and in the corridor’s dim light, something moved. Lucien’s hand tensed, and in a blur of silver and charcoal, he withdrew the thin blade concealed within his ivory-handled cane. The tick-tock of his cane stopped, replaced by the sharp, clean sound of steel sliding free. “They followed me,” he said, not to me, but to the shadow in the doorway. “Or perhaps they followed you, Rory. Either way, your flat is no longer safe, and your deadbolts are not enough.” The door did not burst open. It was already open. And standing in the threshold, with a smile that suggested they knew exactly who Lucien was and exactly what he carried, was a figure wrapped in dark, with eyes that reflected the hallway light like a second pair of Lucien’s. Shit had hit the fan. Lucien’s arm moved, shielding me instinctively, his blade glinting, while Ptolemy spat and leaped from his tower of scrolls, sending research notes flying like frightened birds. I looked at Lucien, at the half-demon who had broken every rule to find me, and I realised that the complicated terms they had parted on were nothing compared to the chaos of being together. “Run,” Lucien said, his voice a command wrapped in velvet, but I knew he would not leave me, and I would not leave him. The figure stepped inside.
created_at"2026-09-01T14:10:47.189Z" 9/1/2026, 2:10:47 PM
model"thinkingmachines/inkling-small-20260730"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency249
moderation_latency(null)
generation_time92195
tokens_prompt4383
tokens_completion12781
native_tokens_prompt4082
native_tokens_completion11354
native_tokens_completion_images(null)
native_tokens_reasoning10120
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)
usage0.0154617
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.19.0; linux; x64))"
http_referer(null)
request_id"req-1788271847-lGK6wWEUVxyajIbLrURH"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1788271847-xgaZYZ9M5f1qCBqjaFUX"
upstream_id"chatcmpl-RnVEtxDGoEBVweED59P0wGXL"
provider_responses
0
endpoint_id"d1d9657b-3c3a-49b5-8f81-33204e7c71c3"
id"chatcmpl-RnVEtxDGoEBVweED59P0wGXL"
is_byokfalse
latency81
model_permaslug"thinkingmachines/inkling-small-20260730"
provider_name"DeepInfra"
status200
total_cost0.0154617
cache_discount(null)
upstream_inference_cost0
provider_name"DeepInfra"
response_cache_source_id(null)
data_region"global"
workspace_id"97e315e5-d303-487d-83c1-83180e8a13d4"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags20
adverbTagCount2
adverbTags
0"he said softly [softly]"
1"I said quietly [quietly]"
dialogueSentences36
tagDensity0.556
leniency1
rawRatio0.1
effectiveRatio0.1
97.26% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1825
totalAiIsmAdverbs1
found
0
adverb"softly"
count1
highlights
0"softly"
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)
47.95% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1825
totalAiIsms19
found
0
word"predator"
count1
1
word"calculating"
count1
2
word"tinged"
count1
3
word"stomach"
count2
4
word"echoes"
count1
5
word"reminder"
count1
6
word"pulse"
count1
7
word"silence"
count2
8
word"chill"
count1
9
word"sanctuary"
count1
10
word"weight"
count1
11
word"navigating"
count1
12
word"whisper"
count1
13
word"tracing"
count1
14
word"gleaming"
count1
15
word"glinting"
count1
16
word"velvet"
count1
highlights
0"predator"
1"calculating"
2"tinged"
3"stomach"
4"echoes"
5"reminder"
6"pulse"
7"silence"
8"chill"
9"sanctuary"
10"weight"
11"navigating"
12"whisper"
13"tracing"
14"gleaming"
15"glinting"
16"velvet"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences81
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences81
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences97
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen77
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1825
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions29
unquotedAttributions1
matches
0"Before I could pull back, before I could decide whether to kiss him or shove him out, Ptolemy hissed."
50.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions35
wordCount1119
uniqueNames10
maxNameDensity1.34
worstName"Lucien"
maxWindowNameDensity3.5
worstWindowName"Lucien"
discoveredNames
Eva6
Ptolemy5
Lucien15
Moreau2
French-tinged1
Brick1
Lane1
London2
Marseille1
Avaros1
persons
0"Eva"
1"Ptolemy"
2"Lucien"
3"Moreau"
places
0"Brick"
1"Lane"
2"London"
3"Marseille"
4"Avaros"
globalScore0.83
windowScore0.5
62.28% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences57
glossingSentenceCount2
matches
0"felt like navigating a maze of someone"
1"sounded like a confession"
35.62% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches3
per1kWords1.644
wordCount1825
matches
0"not to come,” I said, but I stepped back to let him pass, my left wrist brushing my si"
1"not on Lucien, but on the open door behind us"
2"not to me, but to the shadow in the doorway"
97.94% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount2
totalSentences97
matches
0"notes that Eva"
1"realised that the"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs40
mean45.63
std24.72
cv0.542
sampleLengths
060
146
227
339
461
593
642
739
828
977
1048
1160
1261
1387
1462
1539
1628
1779
1876
1938
2037
2135
2291
2326
2443
25103
2631
2710
2881
2919
3026
3117
3237
3335
3450
355
3626
3735
3824
394
92.27% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences81
matches
0"was cramped"
1"was slicked"
2"were unlocked"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs199
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences97
ratio0
matches(empty)
88.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1134
adjectiveStacks2
stackExamples
0"polished French-tinged precision,"
1"small crescent-shaped scar"
adverbCount37
adverbRatio0.03262786596119929
lyAdverbCount9
lyAdverbRatio0.007936507936507936
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences97
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences97
mean18.81
std15.05
cv0.8
sampleLengths
030
130
28
35
433
53
614
710
813
926
1011
1112
1216
1322
1417
1533
1620
1723
1822
1920
2016
2123
2210
2318
247
2533
2637
2711
2837
2912
3048
316
321
3313
3411
3530
3630
3757
387
396
4020
419
4220
4313
4415
4511
467
4721
4811
4934
42.96% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats10
diversityRatio0.31958762886597936
totalSentences97
uniqueOpeners31
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences72
matches
0"Instead, Lucien Moreau filled the"
1"Instead, my gaze dropped to"
2"Of course he knew."
3"Instead, I swallowed hard, my"
ratio0.056
25.56% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount35
totalSentences72
matches
0"I did not reach for"
1"I did not call out."
2"My brain went quiet, cool-headed,"
3"His voice carried that polished"
4"I said, my voice steadier"
5"he said, stepping inside without"
6"He caught it with his"
7"He moved into Eva’s flat"
8"I said, but I stepped"
9"He set it beside the"
10"My black hair hung straight"
11"His amber eye narrowed, while"
12"He wore a tailored charcoal"
13"he said softly"
14"I crossed my arms, but"
15"I should have told him"
16"I said, stepping around the"
17"I snapped, but my heart"
18"he said, and he lifted"
19"My breath hitched."
ratio0.486
36.39% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount61
totalSentences72
matches
0"The deadbolt clicked back, and"
1"I did not reach for"
2"I did not call out."
3"My brain went quiet, cool-headed,"
4"His voice carried that polished"
5"I said, my voice steadier"
6"he said, stepping inside without"
7"The door bumped against a"
8"He caught it with his"
9"He moved into Eva’s flat"
10"The space was cramped, a"
11"Ptolemy, Eva’s tabby cat, sat"
12"I said, but I stepped"
13"The small crescent-shaped scar from"
14"Lucien’s cane clicked against the"
15"He set it beside the"
16"My black hair hung straight"
17"His amber eye narrowed, while"
18"He wore a tailored charcoal"
19"he said softly"
ratio0.847
69.44% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences72
matches
0"Before I could pull back,"
ratio0.014
0.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences38
technicalSentenceCount8
matches
0"The deadbolt clicked back, and I pulled Eva’s door open, expecting the usual narrow hallway and Ptolemy’s indignant yowl from somewhere in the stacks of books t…"
1"Lucien’s cane clicked against the floorboards, a tick-tock rhythm that matched the pulse in my throat."
2"He wore a tailored charcoal suit that fit him like a second skin, and his platinum hair was slicked back with the kind of care that suggested he had spent the n…"
3"The attraction was still there, buried under layers of hurt and the knowledge that he was half-demon, a fixer who spoke four languages fluently and killed with …"
4"He was Lucien Moreau, a fixer who trafficked in the hidden truths of London’s supernatural underworld, born in Marseille to a human mother and a demon father fr…"
5"And standing in the threshold, with a smile that suggested they knew exactly who Lucien was and exactly what he carried, was a figure wrapped in dark, with eyes…"
6"Lucien’s arm moved, shielding me instinctively, his blade glinting, while Ptolemy spat and leaped from his tower of scrolls, sending research notes flying like …"
7"I looked at Lucien, at the half-demon who had broken every rule to find me, and I realised that the complicated terms they had parted on were nothing compared t…"
50.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags20
uselessAdditionCount3
matches
0"I said, my voice steadier than the flutter in my stomach"
1"I snapped, but my heart hammered"
2"I said, but my voice had lost its edge"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags20
fancyCount1
fancyTags
0"I snapped (snap)"
dialogueSentences36
tagDensity0.556
leniency1
rawRatio0.05
effectiveRatio0.05
79.8551%