Run: 2026-09-01-01M1ENBQ54HK36RPYBMB75P9V3

Run Details

Duration:
1m 57s
Cost:
$0.011960
Provider:
DeepInfra

Model input

System
You are an expert and award-winning novel writer in the dark Literary Fiction genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <character id="4413" name="Silas Blackwood" aliases="Silas, Si, the Spymaster" pronouns="he/him" species="Human" storyRole="Mentor"> <eyeColor>hazel</eyeColor> <hair>grey-streaked auburn</hair> <height>6'1"</height> <age>58</age> <beard>neatly trimmed, matching his grey-streaked auburn hair</beard> <limp>slight limp in his left leg from an old knee injury</limp> <signetRing>silver signet ring, always worn on his right hand</signetRing> <description>Silas is a retired intelligence operative turned bar owner. He carries himself with quiet authority.</description> <backstory>Former MI6 field agent who retired after a botched operation in Prague left him with a permanent knee injury. He opened "The Raven's Nest" bar in Soho as a front for his network of contacts.</backstory> </character> <location id="854" name="The Raven's Nest" aliases="the Nest, Raven, Silas' bar" realm="Earth"> <signColor>distinctive green neon sign above the entrance</signColor> <secretRoom>hidden back room accessible through a bookshelf, used for clandestine meetings</secretRoom> <description>A dimly lit bar in Soho, London. The walls are covered with old maps and black-and-white photographs.</description> </location> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the literary fiction genre. Two old friends who haven't seen each other in years run into each other unexpectedly at a bar. One of them has changed significantly. Through their conversation and the tension between who they were and who they've become, reveal the weight of time and unspoken regret. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The door swung inward with a rusted whine, and Rory stepped across the threshold carrying a wooden delivery box stamped with the Golden Empress dragon. She had not planned to enter; her route had always taken her up the narrow stairwell behind the kitchen, away from eyes and questions. But Silas was at the rail, and he had turned, and she could not look away. The green neon sign above the entrance buzzed, flickering sickly over the old floorboards where The Raven's Nest held its breath. Old maps lined the walls, and black-and-white photographs watched from every dark corner, silent and judgmental. Silas Blackwood stood behind the bar with a stillness that made the room feel smaller. His hair, once streaked with grey and auburn, had turned pure silver. His beard, neatly trimmed, was thinner now, patchy at the jaw. The limp in his left leg was pronounced, a heavy drag of the foot against the worn wood. At fifty-eight, he looked like someone who had misplaced his shadow years ago. "You came down the front stairs," he said. His voice was gravel and smoke, quiet, with the authority of a retired spymaster who had forgotten he was retired. "I had to deliver this personally." Rory set the box down. Her bright blue eyes tracked him without flinching; she kept her straight shoulder-length black hair tucked behind her ears, and her small crescent scar on the left wrist was visible where her sleeve rode up. "You asked me here." "I asked you because you haven't spoken to me in three years," Silas said. "Not since you moved into the flat above and decided that walls could keep people apart." Rory straightened. At twenty-five, she was cool-headed, intelligent, known for quick out-of-the-box thinking. She wore her delivery uniform, the fabric worn at the seams, and she moved with the cautious precision of someone who had learned that exposure was costly. "You don't get to lecture me about distance, Silas. You haven't spoken to me either. Not once, since Cardiff." He leaned on the bar. The silver signet ring on his right hand caught the green light. "I have spoken to you. Every night through the pipes, through Eva, through the walls of this building. You just refused to listen." She felt the weight of that in her chest, a dull ache she had carried since she fled London at Eva's behest, leaving an abusive ex named Evan behind, leaving her Pre-Law studies at Cardiff University, leaving her father Brendan's barrister reputation and her mother Jennifer's Welsh classroom behind. She had come to London to disappear, to work part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant, to live in a flat above a bar owned by a man she hadn't seen in years. "You changed," she said. "I aged." "More than that." Rory stepped closer. The air smelled of stale beer and old paper, and something else, something copper and regret. "You used to carry yourself like you were still running something. Now you look like you've been hurt, and you haven't told anyone." Silas didn't answer. His hazel eyes, once sharp, were tired. "You were in Prague," she said. She knew the story from Eva, from whispers in the network. The botched operation had left him with his knee injury and a permanent limp, but she suspected it had done more. "I came back," he said. "Back to what? This?" She gestured at the bar, at the hidden back room behind the bookshelf, at the life he had built as a front. "I came back to you, Rory. Even if I didn't know I was looking for you until I found you sleeping three floors above my head." She pulled her hand back, rubbing the crescent scar. It itched, always. "Don't do this. Don't pretend we're old friends now, Silas. You were my father's acquaintance. You were a ghost in the background of my childhood. We are not friends." "Friends?" He almost laughed, a dry sound. "We were never friends, Aurora. We were something older. We were the people who watched each other grow up in Cardiff, who saw your mother teach you patience and your father teach you law, who noticed when you started looking at the world like it owed you nothing." Rory felt her jaw tighten. She had not spoken to him in years, not since she had walked away from everything, not since she had left Evan and realised that her quick out-of-the-box thinking could not save her from a man who believed ownership was a birthright. "Why am I here?" she asked. Silas reached under the bar and produced a small photograph. He slid it across the polished wood. Rory picked it up. It was her, at sixteen, standing with her father in front of the Cardiff courthouse. Beside them, barely visible, was Silas, young then, with auburn hair and no limp. "I kept this for years," Silas said. "Not because I needed it. Because I didn't want to forget that I knew you before the scars, before the flat above the bar, before you decided that silence was safety." Rory's throat tightened. She put the photograph down. She looked at him with bright blue eyes that had learned to hide everything. "You should have stayed away," she said. "I tried." He tapped the silver signet ring against the bar. "But I made a choice after Prague. I decided that if I was going to live with the failure of that botched operation, I would live with something that mattered. I would watch you. From the front of this bar, through the network Eva runs for me, through every delivery you made to this building. I never approached because I thought you were stronger if I didn't." "You were wrong about that." "I was wrong about a lot of things. I was wrong about the man named Evan, wrong about letting him think he could find you here, wrong about thinking that distance was the same as protection." Rory felt a chill move through her. She glanced at the hidden bookshelf at the back, the secret room accessible through a sliding panel that Silas had shown her once, years ago, when she was still a child who thought retirement meant rest. "Come with me," Silas said. "I don't want to go into your back room, Silas." "You need to see something," he said. "Not for me. For you." She hesitated. Then she followed. The transition was silent except for the tick-tock of an old clock above the bar. Silas pushed a leather-bound book on the shelf to the left; the mechanism clicked with a dull thud, and the bookshelf swung inward. The hidden room behind it was dim, lit by a single bulb that cast long shadows across old maps and black-and-white photographs pinned to the walls. The air here was closer, older, smelling of dust and hidden things. Silas led her inside and closed the door behind them with a soft click that felt like a lock. Inside, the walls were covered with more photographs. Some were of her childhood in Cardiff, with Brendan and Jennifer. Others were recent: Rory making deliveries, entering her flat, talking to Eva near the Golden Empress kitchen. One photograph showed Evan, his face half-shadowed, standing outside her window. "I've been watching you since Prague," Silas said. "Not to hurt you. Not to control you. Because I failed once, and I promised myself I would not fail again. But I think I have failed differently. I have become a ghost in your life, and ghosts do not help." Rory turned to him. "You should have told me." "I thought I couldn't," Silas said. "I thought if I spoke, you would run again. But I see now that you came here, to the front of my bar, because some part of you knew that I was the only one who knew everything." She touched her scar. "This isn't from childhood. It was from a year ago. A broken bottle, not an accident. I told you that was from childhood because it was easier than admitting I had been hurt by the man who claimed to love me." Silas nodded. His limp dragged as he stepped closer. "I know. I have the report from Eva. I have the records of your flight, your work here, your silence. I have the names of every place he might find you." "Then why am I here?" Rory demanded. She kept her voice level, though her bright blue eyes were trembling with an anger that she rarely showed. "If you know everything, why pull me into this hidden room? Why now?" Because I have something to ask you," Silas said. He reached into his jacket and pulled out a small envelope. He handed it to her. She opened it. Inside was a photograph of her flat's door, and beside it, a handwritten note. "He's back," Silas said quietly. "Evan has tracked you to London. He is not here yet, but he will be. He knows you work at the Golden Empress. He knows you live above this bar. And he knows that you came to see me today, because he is watching the building." Rory felt the world tilt. She looked at the note. The handwriting was Evan's. "Why did he let me come here?" she asked. "Because he wants to hurt you slowly," Silas said. "Because the worst damage he can do is make you choose between running and staying, between silence and this." He touched her wrist, the crescent scar glinting in the dim light. "I can hide you. I can put you in a safe house, in Prague or beyond. But I cannot do that without your help. And I cannot ask you to stay if you think I am just another ghost." Rory stared at him. The weight of time pressed down on her shoulders, the unspoken regret of three years of avoidance, of the life she had built in isolation, of the man she had become to survive. "I don't forgive you," she said. "I don't ask for it," Silas said. "I need to think," Rory said. "You have five minutes," Silas replied. "Because he is at the door." The front door of The Raven's Nest exploded inward with a thunderous crash, and the green neon sign shattered across the steel frame in a shower of glass sparks. Rory turned, her cold, intelligent mind already calculating exits, already searching for the back passage, already knowing that the old life she had tried to bury was not buried at all. Silas grabbed her arm, not to restrain her, but to pull her deeper into the hidden room. "Stay," he whispered. But Rory's bright blue eyes already tracked the shadow in the doorway, and she knew that time had not healed the wounds between them; it had only made them deeper, sharper, and ready to bleed.
created_at"2026-09-01T14:18:23.283Z" 9/1/2026, 2:18:23 PM
model"thinkingmachines/inkling-small-20260730"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency837
moderation_latency(null)
generation_time117034
tokens_prompt4445
tokens_completion9452
native_tokens_prompt4138
native_tokens_completion8415
native_tokens_completion_images(null)
native_tokens_reasoning6877
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)
usage0.0119601
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.19.0; linux; x64))"
http_referer(null)
request_id"req-1788272303-J5JkPuFnMqU36ZLdvd7T"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1788272303-8UENWzESRiZJRT1TFVqi"
upstream_id"chatcmpl-R2DSNZKzYuwiF9AvtauxmCHX"
provider_responses
0
endpoint_id"faa5ad38-86c9-427e-b1cb-99c43bc4827b"
is_byokfalse
latency41
model_permaslug"thinkingmachines/inkling-small-20260730"
provider_name"BaseTen"
status429
1
endpoint_id"d1d9657b-3c3a-49b5-8f81-33204e7c71c3"
id"chatcmpl-R2DSNZKzYuwiF9AvtauxmCHX"
is_byokfalse
latency90
model_permaslug"thinkingmachines/inkling-small-20260730"
provider_name"DeepInfra"
status200
total_cost0.0119601
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
totalTags29
adverbTagCount2
adverbTags
0"He almost laughed [almost]"
1"Silas said quietly [quietly]"
dialogueSentences50
tagDensity0.58
leniency1
rawRatio0.069
effectiveRatio0.069
97.26% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1826
totalAiIsmAdverbs1
found
0
adverb"slowly"
count1
highlights
0"slowly"
100.00% AI-ism character names
Target: 0 AI-default names (16 tracked, −20% each)
codexExemptions
0"Blackwood"
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
72.62% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1826
totalAiIsms10
found
0
word"weight"
count2
1
word"silence"
count3
2
word"chill"
count1
3
word"glinting"
count1
4
word"unspoken"
count1
5
word"shattered"
count1
6
word"calculating"
count1
highlights
0"weight"
1"silence"
2"chill"
3"glinting"
4"unspoken"
5"shattered"
6"calculating"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells1
narrationSentences93
matches
0"felt a chill"
96.77% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount1
narrationSentences93
filterMatches
0"feel"
1"think"
hedgeMatches
0"tried to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences114
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen68
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1826
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions31
unquotedAttributions0
matches(empty)
50.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions70
wordCount1126
uniqueNames19
maxNameDensity1.69
worstName"Silas"
maxWindowNameDensity3.5
worstWindowName"Silas"
discoveredNames
Rory16
Golden4
Empress4
Silas19
Raven2
Nest2
Blackwood1
London2
Eva3
Evan4
Pre-Law1
Cardiff3
University1
Brendan2
Jennifer2
Welsh1
Yu-Fei1
Cheung1
Prague1
persons
0"Rory"
1"Silas"
2"Raven"
3"Nest"
4"Blackwood"
5"Eva"
6"Evan"
7"University"
8"Brendan"
9"Jennifer"
10"Cheung"
places
0"Golden"
1"London"
2"Cardiff"
3"Prague"
globalScore0.656
windowScore0.5
63.79% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences58
glossingSentenceCount2
matches
0"looked like someone who had misplaced his"
1"felt like a lock"
90.47% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.095
wordCount1826
matches
0"not here yet, but he will be"
1"not to restrain her, but to pull her deeper into the hidden room"
49.71% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount4
totalSentences114
matches
0"learned that exposure"
1"realised that her"
2"knows that you"
3"knew that time"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs56
mean32.61
std22.74
cv0.698
sampleLengths
065
137
269
328
450
530
659
740
886
94
102
1145
1210
1338
145
1526
1626
1741
1855
1947
206
2150
2238
2322
247
2578
265
2736
2843
295
3010
3112
325
3376
3419
3547
3649
379
3844
3945
4040
4139
4242
4351
4414
459
4679
4737
486
497
97.72% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences93
matches
0"was pronounced"
1"was retired"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs205
matches
0"were trembling"
42.61% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount4
flaggedSentences4
totalSentences114
ratio0.035
matches
0"She had not planned to enter; her route had always taken her up the narrow stairwell behind the kitchen, away from eyes and questions."
1"Her bright blue eyes tracked him without flinching; she kept her straight shoulder-length black hair tucked behind her ears, and her small crescent scar on the left wrist was visible where her sleeve rode up."
2"Silas pushed a leather-bound book on the shelf to the left; the mechanism clicked with a dull thud, and the bookshelf swung inward."
3"But Rory's bright blue eyes already tracked the shadow in the doorway, and she knew that time had not healed the wounds between them; it had only made them deeper, sharper, and ready to bleed."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount996
adjectiveStacks0
stackExamples(empty)
adverbCount24
adverbRatio0.024096385542168676
lyAdverbCount5
lyAdverbRatio0.0050200803212851405
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences114
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences114
mean16.02
std13.25
cv0.827
sampleLengths
025
124
216
321
416
515
612
711
818
913
108
1120
1211
1335
144
1514
1616
172
1811
1927
2019
215
2212
2323
2449
2537
264
272
286
2916
3023
313
327
336
3411
3521
365
3726
3826
399
403
4129
427
4348
445
4542
466
4710
487
494
41.23% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats10
diversityRatio0.2807017543859649
totalSentences114
uniqueOpeners32
46.95% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences71
matches
0"Then she followed."
ratio0.014
56.62% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount29
totalSentences71
matches
0"She had not planned to"
1"His hair, once streaked with"
2"His beard, neatly trimmed, was"
3"His voice was gravel and"
4"Her bright blue eyes tracked"
5"She wore her delivery uniform,"
6"He leaned on the bar."
7"She felt the weight of"
8"She had come to London"
9"His hazel eyes, once sharp,"
10"She knew the story from"
11"She gestured at the bar,"
12"She pulled her hand back,"
13"It itched, always."
14"He almost laughed, a dry"
15"She had not spoken to"
16"He slid it across the"
17"It was her, at sixteen,"
18"She put the photograph down."
19"She looked at him with"
ratio0.408
51.55% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount58
totalSentences71
matches
0"The door swung inward with"
1"She had not planned to"
2"The green neon sign above"
3"Silas Blackwood stood behind the"
4"His hair, once streaked with"
5"His beard, neatly trimmed, was"
6"The limp in his left"
7"His voice was gravel and"
8"Rory set the box down"
9"Her bright blue eyes tracked"
10"She wore her delivery uniform,"
11"He leaned on the bar."
12"The silver signet ring on"
13"She felt the weight of"
14"She had come to London"
15"Rory stepped closer"
16"The air smelled of stale"
17"Silas didn't answer."
18"His hazel eyes, once sharp,"
19"She knew the story from"
ratio0.817
70.42% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences71
matches
0"Because I have something to"
ratio0.014
55.75% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences41
technicalSentenceCount5
matches
0"Silas Blackwood stood behind the bar with a stillness that made the room feel smaller."
1"His voice was gravel and smoke, quiet, with the authority of a retired spymaster who had forgotten he was retired."
2"She felt the weight of that in her chest, a dull ache she had carried since she fled London at Eva's behest, leaving an abusive ex named Evan behind, leaving he…"
3"She had not spoken to him in years, not since she had walked away from everything, not since she had left Evan and realised that her quick out-of-the-box thinki…"
4"She glanced at the hidden bookshelf at the back, the secret room accessible through a sliding panel that Silas had shown her once, years ago, when she was still…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags30
uselessAdditionCount1
matches
0"He touched, the crescent scar glinting in the dim light"
90.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags22
fancyCount3
fancyTags
0"He almost laughed (laugh)"
1"Rory demanded (demand)"
2"he whispered (whisper)"
dialogueSentences50
tagDensity0.44
leniency0.88
rawRatio0.136
effectiveRatio0.12
82.4489%