Run: 2026-09-01-01M1ENC7WPTRRRK9S6RQ1S0WXT

Run Details

Duration:
2m 6s
Cost:
$0.011335
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
She turned the third deadbolt with a metallic snap that echoed against the narrow brick wall, and pulled the door open expecting the damp hiss of Brick Lane, the curry-house heat rising from the street below, the familiar smell of turmeric and garlic that clung to the stairwell. Instead, Lucien Moreau stood on the landing. He wore a tailored charcoal suit that drank the neon glow from Silas’ bar sign and turned it to silver, and his slicked-back platinum hair caught the light like polished steel. One eye amber, one black; both fixed on her with the calm of a predator who had already decided whether she was prey or partnership. "Rory," he said. His voice was low, polished, with a French undertone that made her name sound like an accusation and a prayer at once. She stepped back into the cramped hallway, her bright blue eyes narrowing. The left wrist brushed the doorframe; the small crescent scar pulled tight against the wood. "You have three deadbolts. You used that cane of yours, didn't you?" He did not deny it. His ivory-handled cane rested against his shoulder, the thin blade concealed inside but not hidden. He stepped inside without invitation, and the smell of old paper, turmeric, and dust wrapped around them like a damp silk shawl. The flat was a single cramped room above the curry house, every surface crowded with books, scrolls, and research notes that smelled of mildew and secrets. A tabby cat named Ptolemy perched on a stack of leather-bound scrolls by the window, hissed at the intrusion of the dark suit, and vanished behind a tower of volumes that looked older than Liverpool Street. "You didn't return my messages." Lucien closed the door behind him, and the deadbolts clicked back into place with a sound like a gun being cocked. "I deleted them." Rory's voice was cool, controlled, the same voice that had kept her steady through her pre-law nights and her desperate flight from Evan. "You left. You vanished to Marseille or Avaros or wherever it is you go when you need to disappear." "I withdrew, not vanished." He moved into the room with the easy grace of a man who had memorised every obstacle. "And you left London too, apparently. The flat above Silas' bar is not where I expected to find you." "I live here. You don't." "Clearly you forgot that I know your patterns." He turned, the amber eye catching the dim light from the streetlamp. "You delivered to Golden Empress tonight. The rice was cold, but the route was sloppy. You doubled back at Brick Lane." Her breath caught. "You were watching." "I always watch. It is my profession." He set his cane down, and the blade glinted against the worn wooden floor. "You need to sit down, Rory. You have been walking with a shadow." She crossed her arms, straight black hair falling past her shoulders, her stance sharp and defensive. "You came here uninvited, used a concealed blade to breach deadbolts, and now you tell me I'm being watched? You sound like a villain in one of Eva's books." "Eva's books are not wrong." He stepped closer, too close for comfort, and she did not move. The room was cramped, the air thick with the scent of old ink and curry from the kitchen below. "You left an abusive man, rebuilt your life, and you still answer doors like a ghost." "I answer doors because there's a world outside your networks, Luc." She stepped sideways, not away, her bright blue eyes holding his. "What do you want? Information? A favour? Or do you just want to stand in my flat and remind me what we lost?" "I want you to listen." His voice dropped, intimate, dangerous. "Your ex-partner is not the only one with eyes in this city. Someone is collecting names. Your delivery route, your flat, your father's barrister records. You are not hidden; you are catalogued." She felt the scar on her wrist burn. "My father is in Cardiff. He doesn't know I'm here." "He knows." Lucien's hand lifted, and she did not flinch when he touched her jaw, thumb tracing the hollow beneath her ear with a tenderness that felt like a blade wrapped in silk. "You came to London at Eva's behest. You live above a bar. You work for Yu-Fei Cheung. You think this makes you invisible to the underworld?" "I think it makes me careful." "You are not careful. You are desperate to believe that if you hide enough, you can outrun the past." His fingers moved to her wrist, finding the crescent scar, pressing lightly. "This is not from a childhood accident anymore, is it?" She pulled away, her heart hammering. The touch was too familiar, too intimate, and it hurt more than the old wound itself. "Don't. Don't turn your fixation into a diagnosis." "I am not fixing you. I am telling you that I came because I heard about the deadbolts." He released her, and the air returned to them, thin and heavy. "You unlocked them because you were expecting Eva. She is not coming. I have already spoken to her. She told me where you were, and she told me to find you before the others did." "Others?" "The ones who left Evan's circle. The ones who think you know too much about the Golden Empress accounts." He picked up his cane, and the blade slid out with a soft hiss that made Ptolemy hiss in answer. "I came uninvited because the invitation would have warned them. You left your door open to the world, Rory, and now I must close it." The room seemed to shrink. The tabby cat hissed from behind a stack of scrolls, and the smell of turmeric and copper seemed to rise from the floorboards as if the building itself were exhaling. She looked at the blade, then at him, and felt the old pull, the dark attraction she had never fully named, the history of hurt and unsaid things that accumulated like dust on her books. "You think you can just walk in with a knife and a half-demon reputation and fix me?" "I think you need a guard, and I am the only one who knows your habits well enough to be dangerous in the right ways." He stepped closer again, closer than before, until she could smell the clean scent of his suit and the faint, metallic hint of something older, demonic, beneath the tailored charcoal. "You came to London fleeing an abuser. You built a life from delivery boxes and borrowed books. But you still look at me like I am the end of the world." "Because you might be." "Then let me be the end of your loneliness, too." He was not touching her, but every inch of him radiated a heat that made the cramped flat feel like a furnace. She could feel the weight of the deadbolts behind her, the open door, the secret of her flat above Silas' bar. She could feel the history between them, the hurt, the unsaid things that had accumulated like dust on her books. "You left because I was too dangerous," she said. "I left because you were already leaving me." His amber eye caught the light as he tilted his head. "But I did not stop caring. I never stopped. I followed your route, I spoke to Eva, I watched you deliver cold rice. And I know that if I leave again, you will bury yourself under more scrolls and pretend that your heart is not asking for me." She was shaking her head, but her eyes told a different story, bright blue and trembling with the truth. "You shouldn't have come." "I know." His cane slid back to rest against his shoulder, the blade concealed, but not forgotten. "But I needed to see if your scar was still there." She touched the crescent mark, then lowered her hand. "You have three minutes before someone else comes knocking, Luc. And if you think this is a romance, you are wrong. It is a transaction." "Then let us begin the transaction." He reached for her, not with the blade, but with a hand that claimed her wrist again, pulling her into the centre of the room where the books and scrolls could not hide them. "Show me why you left, Rory. Show me why you came back." She did not resist. The dark romance of him was a drug she had never fully quit, and in the cramped flat above the curry house, with the tabby cat hissing in the shadows and the deadbolts unlatched to the world, she let him hold her. Then the window shattered. Glass sprayed across the books in a sharp, singing arc, and the cold night air of Brick Lane rushed in with a scream of its own, scattering scrolls and ending the silence with a violence that made them both turn. Lucien pulled her behind him, the blade of the cane sliding free in a swift, humming arc, his heterochromatic eyes burning with the half-demon fury he had carried since Marseille. "Down," he ordered. She dropped, her bright blue eyes scanning the shattered window, her finger brushing the sharp edge of her own delivery box cutter that she kept at her hip. In the dark, something moved on the ledge, a shadow with no name, and Rory Carter realised that Lucien Moreau had not come for flirtation or old wounds. He had come for war. And now, with the deadbolts open and the world poured inside, she had to choose whether to trust the man who had broken into her flat, or the survival instinct that told her she had been found. She rose, her black hair falling across her shoulders, her scar burning like a brand. "You brought them," she said. "I brought the blade," he answered, stepping beside her, his charcoal suit dark against the chaos. "You brought the courage. Together, we survive." The stairwell from the curry house below began to shake with heavy footsteps, relentless and loud, and Rory Carter knew, with cool, intelligent certainty, that the complicated terms of her past had finally arrived to collect their debt. She looked at Lucien, at the blade, at the open door, and felt the thrill of danger that had always been hers, the part of her that was not just a delivery girl, not just a frightened girl from Cardiff, but a woman who could look a half-demon in the eye and not flinch. "You have your blade," she said. "I have mine. Now show me why you really came back." The footfalls reached the landing outside, and the deadbolts remained unlatched, the night pouring in through the broken glass, and Rory Carter stepped forward, not into safety, but into the storm she had always known was coming.
created_at"2026-09-01T14:18:40.418Z" 9/1/2026, 2:18:40 PM
model"thinkingmachines/inkling-small-20260730"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency275
moderation_latency(null)
generation_time126257
tokens_prompt4383
tokens_completion10176
native_tokens_prompt4082
native_tokens_completion9072
native_tokens_completion_images(null)
native_tokens_reasoning7622
native_tokens_cached3968
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)
usage0.0113345
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.19.0; linux; x64))"
http_referer(null)
request_id"req-1788272320-0l6dlHlUtLamkaC3cdKE"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1788272320-APc6zqQNkQVGf3ZtwOMl"
upstream_id"chatcmpl-RV3RzMt1otqyuwMyo28zlAj7"
provider_responses
0
endpoint_id"d1d9657b-3c3a-49b5-8f81-33204e7c71c3"
id"chatcmpl-RV3RzMt1otqyuwMyo28zlAj7"
is_byokfalse
latency80
model_permaslug"thinkingmachines/inkling-small-20260730"
provider_name"DeepInfra"
status200
total_cost0.0113345
cache_discount0.0013888
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
totalTags23
adverbTagCount1
adverbTags
0"His cane slid back [back]"
dialogueSentences52
tagDensity0.442
leniency0.885
rawRatio0.043
effectiveRatio0.038
94.50% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1817
totalAiIsmAdverbs2
found
0
adverb"lightly"
count1
1
adverb"really"
count1
highlights
0"lightly"
1"really"
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)
55.97% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1817
totalAiIsms16
found
0
word"echoed"
count1
1
word"familiar"
count2
2
word"predator"
count1
3
word"silk"
count2
4
word"tracing"
count1
5
word"tenderness"
count1
6
word"could feel"
count2
7
word"weight"
count1
8
word"shattered"
count2
9
word"silence"
count1
10
word"scanning"
count1
11
word"footsteps"
count1
highlights
0"echoed"
1"familiar"
2"predator"
3"silk"
4"tracing"
5"tenderness"
6"could feel"
7"weight"
8"shattered"
9"silence"
10"scanning"
11"footsteps"
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
narrationSentences61
matches
0"felt the thrill"
72.60% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount3
narrationSentences61
filterMatches(empty)
hedgeMatches
0"seemed to"
1"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences91
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen55
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1817
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions14
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions28
wordCount1136
uniqueNames14
maxNameDensity0.53
worstName"Lucien"
maxWindowNameDensity1.5
worstWindowName"Rory"
discoveredNames
Brick2
Lane2
Lucien6
Moreau2
One1
French1
Ptolemy2
Liverpool1
Street1
Rory4
Evan1
Marseille1
Carter3
Cardiff1
persons
0"Lucien"
1"Moreau"
2"Ptolemy"
3"Rory"
4"Evan"
5"Carter"
places
0"Brick"
1"Lane"
2"One"
3"Liverpool"
4"Street"
5"Marseille"
6"Cardiff"
globalScore1
windowScore1
98.98% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences49
glossingSentenceCount1
matches
0"felt like a blade wrapped in silk"
0.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches5
per1kWords2.752
wordCount1817
matches
0"not touching her, but every inch of him radiated a heat"
1"not with the blade, but with a hand"
2"not just a delivery girl, not just a frightened girl from Cardiff, but a woman who could look a half-demon in the eye"
3"not just a frightened girl from Cardiff, but a woman who could look a half-demon in the eye"
4"not into safety, but into the storm she had always known was coming"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences91
matches
0"realised that Lucien"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs52
mean34.94
std20.91
cv0.599
sampleLengths
048
17
256
325
439
542
662
726
845
940
105
1141
126
1334
1445
1552
1645
1742
1818
1959
206
2141
2230
2365
241
2564
2670
2717
2886
294
3010
3163
329
3367
3423
3528
3634
3752
3846
394
4040
4130
423
4356
445
4537
4620
4723
4838
4954
88.01% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences61
matches
0"being cocked"
1"was cramped"
2"been found"
49.34% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount4
totalVerbs177
matches
0"were exhaling"
1"was not touching"
2"was shaking"
3"was coming"
48.67% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount3
flaggedSentences3
totalSentences91
ratio0.033
matches
0"One eye amber, one black; both fixed on her with the calm of a predator who had already decided whether she was prey or partnership."
1"The left wrist brushed the doorframe; the small crescent scar pulled tight against the wood."
2"\"Your ex-partner is not the only one with eyes in this city. Someone is collecting names. Your delivery route, your flat, your father's barrister records. You are not hidden; you are catalogued.\""
99.75% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount571
adjectiveStacks0
stackExamples(empty)
adverbCount23
adverbRatio0.040280210157618214
lyAdverbCount4
lyAdverbRatio0.0070052539404553416
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences91
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences91
mean19.97
std12.72
cv0.637
sampleLengths
048
17
231
325
43
522
612
715
812
95
1015
1122
1226
1336
1426
1526
1619
1721
1819
195
2020
2121
223
233
2421
2513
2616
2729
2817
2919
3016
3122
3223
3310
3432
358
3610
3733
3826
396
4031
4110
426
4316
448
4530
4635
471
4839
4925
49.08% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats2
diversityRatio0.3076923076923077
totalSentences91
uniqueOpeners28
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences56
matches
0"Instead, Lucien Moreau stood on"
1"Then the window shattered."
ratio0.036
0.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount36
totalSentences56
matches
0"She turned the third deadbolt"
1"He wore a tailored charcoal"
2"His voice was low, polished,"
3"She stepped back into the"
4"He did not deny it."
5"His ivory-handled cane rested against"
6"He stepped inside without invitation,"
7"He moved into the room"
8"He turned, the amber eye"
9"Her breath caught."
10"He set his cane down,"
11"She crossed her arms, straight"
12"He stepped closer, too close"
13"She stepped sideways, not away,"
14"His voice dropped, intimate, dangerous"
15"She felt the scar on"
16"His fingers moved to her"
17"She pulled away, her heart"
18"He released her, and the"
19"He picked up his cane,"
ratio0.643
4.64% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount51
totalSentences56
matches
0"She turned the third deadbolt"
1"He wore a tailored charcoal"
2"His voice was low, polished,"
3"She stepped back into the"
4"The left wrist brushed the"
5"He did not deny it."
6"His ivory-handled cane rested against"
7"He stepped inside without invitation,"
8"The flat was a single"
9"A tabby cat named Ptolemy"
10"Lucien closed the door behind"
11"Rory's voice was cool, controlled,"
12"He moved into the room"
13"He turned, the amber eye"
14"Her breath caught."
15"He set his cane down,"
16"She crossed her arms, straight"
17"He stepped closer, too close"
18"The room was cramped, the"
19"She stepped sideways, not away,"
ratio0.911
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences56
matches(empty)
ratio0
0.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences27
technicalSentenceCount8
matches
0"She turned the third deadbolt with a metallic snap that echoed against the narrow brick wall, and pulled the door open expecting the damp hiss of Brick Lane, th…"
1"A tabby cat named Ptolemy perched on a stack of leather-bound scrolls by the window, hissed at the intrusion of the dark suit, and vanished behind a tower of vo…"
2"The tabby cat hissed from behind a stack of scrolls, and the smell of turmeric and copper seemed to rise from the floorboards as if the building itself were exh…"
3"She looked at the blade, then at him, and felt the old pull, the dark attraction she had never fully named, the history of hurt and unsaid things that accumulat…"
4"Glass sprayed across the books in a sharp, singing arc, and the cold night air of Brick Lane rushed in with a scream of its own, scattering scrolls and ending t…"
5"She dropped, her bright blue eyes scanning the shattered window, her finger brushing the sharp edge of her own delivery box cutter that she kept at her hip."
6"She rose, her black hair falling across her shoulders, her scar burning like a brand."
7"She looked at Lucien, at the blade, at the open door, and felt the thrill of danger that had always been hers, the part of her that was not just a delivery girl…"
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags23
uselessAdditionCount7
matches
0"Lucien closed, and the deadbolts clicked back into place with a sound like a gun being cocked"
1"He turned, the amber eye catching the dim light from the streetlamp"
2"He set, and the blade glinted against the worn wooden floor"
3"She stepped, not away, her bright blue eyes holding his"
4"He released, and the air returned to them, thin and heavy"
5"He picked up, and the blade slid out with a soft hiss that made Ptolemy hiss in answer"
6"His cane slid back, the blade concealed, but not forgotten"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags6
fancyCount1
fancyTags
0"he ordered (order)"
dialogueSentences52
tagDensity0.115
leniency0.231
rawRatio0.167
effectiveRatio0.038
72.0514%