Run: 2026-09-01-01M1ENS4DXPE72B6MWG35SJG5F

Run Details

Duration:
1m 22s
Cost:
$0.011333
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 with a dull, heavy sound that matched Rory’s pulse. She pulled the door open, her left hand still stinging from the hot takeout box at Golden Empress. Then she froze. He filled the narrow Brick Lane landing, all charcoal and pearl, his slicked platinum hair catching the sodium streetlight behind him. His cane, ivory-handled, rested against his shoulder like a weapon he refused to disguise. “Rory.” She did not step back. Not immediately. His eyes, one amber and one black, tracked her with an intensity that had once made her breathe too quickly. “Lucien.” “You’ve deadbolted the door.” His voice was low, French-tinted, precise as a blade. “Three times, I imagine, given this flat’s reputation.” “Eva’s reputation,” Rory corrected, though her voice came out sharper than she intended. She wore a black delivery jacket over simple clothes, her straight shoulder-length black hair plastered to her neck from the rain outside. The crescent scar on her left wrist, old and pale, glinted as she tightened her grip on the doorframe. “What are you doing at Eva’s flat?” “I’m here because you are.” She pushed the door open just enough to let him through, not out of invitation but because blocking him on the threshold felt more dangerous. He stepped inside with the easy grace of a predator, and the smell of old paper, curry spices from the floor below, and something faintly metallic followed him. The cramped one-bedroom engulfed them immediately. Books stacked on every surface, scrolls curled beside teacups, research notes in half a dozen languages scattered across the small wooden table. Ptolemy, Eva’s tabby cat, hissed from atop a shelf of occult texts and vanished behind a curtain. Lucien’s tailored suit fitted too well for London weather, his heterochromatic gaze scanning the chaos. “You live above Silas’ bar now,” he said, not a question. “Yet you sleep here.” “I don’t sleep here.” Rory closed the door, sliding all three deadbolts with mechanical precision. “Eva’s away. I’m using the space. Unlike you, I don’t need a fixer to arrange accommodation.” “Your delivery job ends at dusk, Rory. Yet you are still in this flat.” “You’re tracking me?” “Always.” He set his cane down, and the hidden blade made a soft scrape against the hardwood floor. “But not for work.” She turned, and they were suddenly too close in the cramped room. His height dwarfed her five-foot-six frame, but she did not look away. The scent of his cologne was dark, something like amber and crushed leaves, and it stirred the memory of every dangerous night they had shared before the rupture. She kept her bright blue eyes fixed on his, refusing the easy surrender of a glance downward. “You left,” she said. “You left without a word, and now you waltz into Eva’s deadbolts like you own the key.” “I walked through the front door because you were too polite to refuse entry.” His hand lifted, not to touch her, but to the shelf beside her head, where a folded note lay. “You left this on my desk. Three weeks ago. The ink is still wet in my memory.” Rory’s breath caught. She knew exactly which note. She had written her real name, her real address, her refusal to keep playing at a game she did not understand. “That was a mistake,” she said. “Was it?” Lucien’s amber eye glowed like old whiskey, his black eye dark and unreadable. “Or was it an invitation you were too cowardly to speak aloud?” The air in the flat tightened. Outside, the curry house below sent up a faint hiss of onions and spice, but inside, the only sound was Ptolemy’s low growl from behind the curtain and the rustle of Lucien’s charcoal jacket as he stepped closer. “I don’t need your excuses, Luc. And I don’t need your presence in this room.” She reached for her delivery bag on the chair, but her fingers trembled, betraying her. The crescent scar on her left wrist twinged, a phantom reminder of nights when she had needed to be stronger than her fear. “You think this is about excuses?” He tilted his head, platinum hair sliding back from his forehead. “I came because someone is asking questions about your mother.” Rory’s jaw tightened. “You stay away from my family.” “Your mother is already involved, Rory. Your father too. The Irish barrister and the Welsh teacher do not stay clean from supernatural debt, not when their daughter runs deliveries for a dragon’s restaurant and shares air with a demon’s fixer.” The accusation landed like a strike. She had fled Cardiff precisely because her parents’ world was too narrow, too dangerous, too full of expectations that did not include half-demon lovers who spoke in whispers and left scars that were not always physical. “You’re lying.” But her voice was hollow, and she knew he never lied about threats. Lucien pulled his hand back, and the ivory cane shifted, its hidden blade glinting in the lamplight. “I came to protect you. Not to seduce you. Not to apologise for the hurt we caused each other in that Marseille hotel room, though I have rehearsed those words a thousand times. I came because if I leave you alone in this flat with your books and your deadbolts, you will not survive the week.” She should have pushed him out. She should have turned the deadbolt with a click and told him to vanish into the London dark he loved so much. Instead, she stood within his orbit, her black hair whipping slightly as he moved, her cool head calculating the odds of survival against the odds of surrender. “Why Eva’s flat?” she asked, her voice low. “Because you run from your apartment when the pressure becomes too heavy.” His amber eye flickered, black and gold, and he stepped closer, his voice dropping to a murmur that felt like a secret. “Because this place smells of Ptolemy and stale tea, and because you think you can hide from me here.” The cat hissed, loud and angry, and Ptolemy shot across the room, knocking a stack of scrolls to the floor. Papers scattered. The noise was sudden, violent, a disruption that felt calculated. Lucien turned, and Rory followed his gaze to the door. The door, which she had deadbolted three times, was shaking. Not a knock. A demand. Three rapid strikes, and then the wood splintered near the top deadbolt, where the frame was weakest. Rory’s heart hammered against her ribs. “What the hell?” “Company,” Lucien said, and his hand closed around the ivory handle of his cane, drawing the thin blade with a whisper of sharp steel against steel. The door gave way. A woman stepped through, all sharp angles and dark silk, her eyes fixed not on Lucien but on Rory. Behind her, two more figures filled the narrow hallway, their intentions obvious in the way they blocked the exit, the way they smelled of salt and old spells. “You thought deadbolts could keep out the dark?” the woman murmured, stepping into Eva’s cramped flat, her boots crushing scattered scrolls. “Poor, clever Rory. You forgot that I taught you which doors to open.” Lucien moved, fast and lethal, but Rory was already stepping back, her vision sharpening, her quick out-of-the-box mind racing through every escape the room offered. The flat was small. The deadbolts were useless now. And the history she had tried to bury with Lucien had just arrived at her doorstep with friends. She looked at Lucien, his blade out, his suit immaculate even as violence spilled into the room, and she realised with startling clarity that he had not come to apologise. He had come because he knew this would happen. The woman smiled, slow and terrible, and said, “Lucien Moreau. You do not leave her alone for long, do you?” Lucien’s amber eye flickered, black and gold, and Rory caught the unspoken truth in his expression before the blade moved. He was not telling the whole truth. He never did. But for the first time since they had parted on those complicated terms, Rory did not feel the urge to run from him. She stepped beside him, her hands raised in a defensive stance she had learned from years of delivery runs and hidden fear, and she looked the intruder dead in the eye. “You’re in my flat,” Rory said, her voice steady as the floor shook beneath her feet. “And you just made a mistake.” The blade gleamed. The deadbolts had failed. The books lay scattered. And in the corner, Ptolemy hissed, ready to fight for the space they had called home. Lucien’s hand closed on Rory’s arm, not gently, but possessively, his thumb tracing the crescent scar on her left wrist as the first strike came. “Stay close,” he said, his voice a murmur against her ear, and for all the hurt they had shared, for all the things left unsaid, Rory knew she was not running this time. She was fighting.
created_at"2026-09-01T14:25:42.854Z" 9/1/2026, 2:25:42 PM
model"thinkingmachines/inkling-small-20260730"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency408
moderation_latency(null)
generation_time81822
tokens_prompt4383
tokens_completion10123
native_tokens_prompt4082
native_tokens_completion9071
native_tokens_completion_images(null)
native_tokens_reasoning7843
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)
usage0.0113333
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.19.0; linux; x64))"
http_referer(null)
request_id"req-1788272742-T7rGqOjcyH40LuXPYsWz"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1788272742-jenecICw4yTEm9M64dAw"
upstream_id"chatcmpl-RmiJjxQjfDA3e1tJXw4vWNKY"
provider_responses
0
endpoint_id"d1d9657b-3c3a-49b5-8f81-33204e7c71c3"
id"chatcmpl-RmiJjxQjfDA3e1tJXw4vWNKY"
is_byokfalse
latency282
model_permaslug"thinkingmachines/inkling-small-20260730"
provider_name"DeepInfra"
status200
total_cost0.0113333
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
totalTags20
adverbTagCount1
adverbTags
0"Lucien’s amber eye glowed like [like]"
dialogueSentences40
tagDensity0.5
leniency1
rawRatio0.05
effectiveRatio0.05
83.36% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1502
totalAiIsmAdverbs5
found
0
adverb"quickly"
count1
1
adverb"suddenly"
count1
2
adverb"precisely"
count1
3
adverb"slightly"
count1
4
adverb"gently"
count1
highlights
0"quickly"
1"suddenly"
2"precisely"
3"slightly"
4"gently"
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)
40.08% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1502
totalAiIsms18
found
0
word"pulse"
count1
1
word"intensity"
count1
2
word"predator"
count1
3
word"scanning"
count1
4
word"mechanical"
count1
5
word"unreadable"
count1
6
word"trembled"
count1
7
word"reminder"
count1
8
word"glinting"
count1
9
word"calculating"
count1
10
word"flickered"
count2
11
word"calculated"
count1
12
word"whisper"
count1
13
word"silk"
count1
14
word"racing"
count1
15
word"unspoken"
count1
16
word"tracing"
count1
highlights
0"pulse"
1"intensity"
2"predator"
3"scanning"
4"mechanical"
5"unreadable"
6"trembled"
7"reminder"
8"glinting"
9"calculating"
10"flickered"
11"calculated"
12"whisper"
13"silk"
14"racing"
15"unspoken"
16"tracing"
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
hedgeCount1
narrationSentences81
filterMatches(empty)
hedgeMatches
0"tried to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences102
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen56
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1502
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions17
unquotedAttributions1
matches
0"And in the corner, Ptolemy hissed, ready to fight for the space they had called home."
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions40
wordCount1107
uniqueNames11
maxNameDensity1.26
worstName"Rory"
maxWindowNameDensity3
worstWindowName"Lucien"
discoveredNames
Rory14
Golden1
Empress1
Brick1
Lane1
French-tinted1
Eva2
London2
Lucien12
Ptolemy4
Cardiff1
persons
0"Rory"
1"Eva"
2"Lucien"
3"Ptolemy"
places
0"Golden"
1"Brick"
2"Lane"
3"London"
4"Cardiff"
globalScore0.868
windowScore0.667
66.67% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences60
glossingSentenceCount2
matches
0"something like amber and crushed leaves, and"
1"felt like a secret"
0.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches4
per1kWords2.663
wordCount1502
matches
0"not out of invitation but because blocking him on the threshold felt more dangerous"
1"not to touch her, but to the shelf beside her head"
2"not on Lucien but on Rory"
3"not gently, but possessively, his thumb tracing the crescent scar on her lef"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences102
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs52
mean28.88
std18.33
cv0.635
sampleLengths
012
121
235
31
428
521
661
75
853
945
1030
1131
1214
133
1422
1569
1621
1750
1829
196
2027
2144
2253
2327
249
2540
2642
2715
2873
2955
308
3153
3232
3310
3410
355
3617
379
3826
394
4047
4134
4252
4339
4420
4553
4631
4722
4827
4925
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences81
matches(empty)
23.63% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount5
totalVerbs189
matches
0"was shaking"
1"was already stepping"
2"was not telling"
3"was not running"
4"was fighting"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences102
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount667
adjectiveStacks0
stackExamples(empty)
adverbCount26
adverbRatio0.038980509745127435
lyAdverbCount8
lyAdverbRatio0.01199400299850075
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences102
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences102
mean14.73
std10.46
cv0.71
sampleLengths
012
118
23
321
414
51
65
72
820
91
1013
118
1213
1322
1419
157
165
1725
1828
196
2022
2117
2215
2311
244
2515
2616
2714
283
2918
304
3112
3212
3328
3417
354
3617
3733
3817
393
405
4121
426
4315
4412
456
4638
4730
4823
4917
46.08% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats8
diversityRatio0.3235294117647059
totalSentences102
uniqueOpeners33
87.72% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences76
matches
0"Then she froze."
1"Instead, she stood within his"
ratio0.026
56.84% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount31
totalSentences76
matches
0"She pulled the door open,"
1"He filled the narrow Brick"
2"His cane, ivory-handled, rested against"
3"She did not step back."
4"His eyes, one amber and"
5"His voice was low, French-tinted,"
6"She wore a black delivery"
7"She pushed the door open"
8"He stepped inside with the"
9"he said, not a question"
10"He set his cane down,"
11"She turned, and they were"
12"His height dwarfed her five-foot-six"
13"She kept her bright blue"
14"His hand lifted, not to"
15"She knew exactly which note."
16"She had written her real"
17"She reached for her delivery"
18"He tilted his head, platinum"
19"She had fled Cardiff precisely"
ratio0.408
25.79% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount66
totalSentences76
matches
0"The deadbolt clicked with a"
1"She pulled the door open,"
2"He filled the narrow Brick"
3"His cane, ivory-handled, rested against"
4"She did not step back."
5"His eyes, one amber and"
6"His voice was low, French-tinted,"
7"Rory corrected, though her voice"
8"She wore a black delivery"
9"The crescent scar on her"
10"She pushed the door open"
11"He stepped inside with the"
12"The cramped one-bedroom engulfed them"
13"Books stacked on every surface,"
14"Ptolemy, Eva’s tabby cat, hissed"
15"Lucien’s tailored suit fitted too"
16"he said, not a question"
17"Rory closed the door, sliding"
18"He set his cane down,"
19"She turned, and they were"
ratio0.868
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences76
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences37
technicalSentenceCount2
matches
0"The noise was sudden, violent, a disruption that felt calculated."
1"Lucien moved, fast and lethal, but Rory was already stepping back, her vision sharpening, her quick out-of-the-box mind racing through every escape the room off…"
25.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags20
uselessAdditionCount4
matches
0"Rory corrected, though her voice came out sharper than she intended"
1"She reached, but her fingers trembled, betraying her"
2"she asked, her voice low"
3"Rory said, her voice steady as the floor shook beneath her feet"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags9
fancyCount2
fancyTags
0"Rory corrected (correct)"
1"the woman murmured (murmur)"
dialogueSentences40
tagDensity0.225
leniency0.45
rawRatio0.222
effectiveRatio0.1
77.3944%