Run: 2026-09-02-01M1GVXZ6MPY9VTHQBKHZFPT3S

Run Details

Duration:
15m 2s
Cost:
$0.132957
Provider:
Z.AI

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
"You count that money like it owes you something." "It does owe me something. Rent's due Friday." Rory flattened the last of the evening's takings into the delivery pouch and pushed it off the bar. Her jacket hung over the neighbouring stool, still carrying the Empress kitchen in its collar, sweet chilli and peanut oil, a smell that had become hers the way other women wore perfume. Silas set down a glass of the dark stuff he kept for the two of them and never named. "On the book." "Everything's on the book." "That's why there is a book." He went back down the bar towards his crossword, the bad knee stiff on the boards, and the Nest settled into its Tuesday sounds. The fridge. The radio turned low. One couple arguing in whispers beneath the maps. The door swung and let Soho in for a second, a lorry reversing, somebody's hen party shrieking at nothing. Then it closed, and a woman stood under the low lamps, blinking while her eyes adjusted. A conference lanyard hung against a camel wool coat. She pulled off one glove with her teeth, looked at the bottles, at the photographs, at Rory. "Aurora Carter." And there it was, the full name. Nobody in this city used the full name. It lived three hours west on the train, and it stayed there. "Rory." "What?" "Nobody here calls me Aurora." "Oh my God. Mun." They performed the half-hug of people who had once shared a bathroom, one arm each, wrong angles, Carys's cold cheek against hers. She brought the outside in with her, cold air and a perfume like a hotel lobby. Up close, the polish had seams. The Cardiff had been planed off her vowels, sanded down to something you would hear in an airport lounge, and her teeth had been done, and her nails were the colour of an expensive grey morning. She took the stool beyond Rory's jacket and unwound a scarf that had cost more than a week of cash tips. "Wine," she said to Silas. "The red. Whatever won't offend." Silas pulled the cork and poured and gave her the look he gave new faces, one full second, filed. His signet ring tapped once on the zinc. "You'll be a friend of Rory's." "We were flatmates. Second year. She lived on my pasta and my electric." "We were," Rory said. He took the note and moved off. "So how long has it been? I lose track." "Three years in March." "Four for me. You went dark before you went, mun." Rory turned her glass a quarter turn and said nothing, because it was true, and because the true things always sounded like accusations in that accent. "God, you look exactly the same. Your hair. That's an insult to the rest of us, frankly." "You look expensive." "I look like a conference. Two days at the Barbican. Employment law. The firm has initials people know." "Do they pay by the initial?" "By the initial, the hour, and my soul, in that order." She held her left hand up to the light and waggled a diamond at it. "Richard. Tax." "Congratulations." "He's solid." "I can hear myself," Carys said, and drank. "And what do the initials have you doing?" "Dispute resolution. Settlements, mostly." "Gagging orders." "That's the ugly word for them." "You had Legal Aid or Nothing on your folder. In biro." "I also had a skateboard and no pension." Rory let that sit. "And you? What does Aurora do in London, apart from elude people?" "I ferry food. A Chinese place round the corner runs its own bikes. I'm on their books. Cash tips, free spring rolls, no away-days." "You're doing deliveries." "I'm doing logistics." Carys laughed, loud for that room, and some of the blow-dry went out of her, and for a second she was twenty again, boots on the rail outside the law library, swearing at the reading list through a roll-up. Then the second passed and the conference came back on. "Where do you live, then?" "Here, actually. There's a flat upstairs." "You live above a pub." "A bar." "That is the most you thing that has ever happened." "Your dad still at it?" "He'll die mid-cross-examination and call it a career highlight." She turned her glass by the stem. "I pupil'd in Cathedral Road, did I say? His chambers. He took me to lunch my first month and interrogated me about privilege for an hour." "That's his love language." "He keeps a photo of you on the desk. Graduation, the gown. He says, my daughter's finding her feet in London." "Mothers say finding yourself. Fathers say finding her feet. Nobody says hiding." Carys's smile slipped a gear. She looked into her wine, then around the room instead, at the maps gone soft with age, the black-and-white photographs, the bookshelf that no one but regulars ever leaned on. "What is this place? It's like an explorer's bedsit." "Him. Maps of everywhere he's been right about something. Photographs of everywhere he wasn't." "Prague, 1989?" She squinted at the nearest frame. "Who's the boy?" "Cities where something went wrong. He collects them." "Bit like Cardiff." She drank. "I should ring my mum more." Rory reached over for the bowl of peanuts, and her sleeve rode up, and Carys's eyes went straight to the small crescent of scar on the left wrist, the way eyes go. "How's the cat?" "There was never a cat, Carys. Bike spoke. I was nine." The wine sat still in Carys's glass. "I never actually met a cat. I told people about the cat. At parties." She gave up on the sentence halfway. "You bought me a jumper once. July." "I know." Carys turned her ring, round and round, the diamond catching the low lamps. Silas came back with two glasses of water and no comment, the grey in his auburn beard catching the light, and went away again. "We were twenty-two. What did we know." "You knew." "Don't." "I rang your mum, after. Twice. She said you were finding yourself. Mothers lie beautifully." She emptied the glass and signalled for another with two fingers. "You went quiet, is all. That's what everyone said, that you'd gone quiet on him. He said it at Dewi's wedding, in the speech. This whole bit about patience, about waiting for people to come back and explain themselves. Everyone laughed." Her thumb worried the stem of the glass. "I laughed, Aurora." "Rory." "Rory." Silas brought the second glass and took the empty, and he looked at Rory a moment longer than the job needed. She kept her voice level, the voice she used for reading delivery tickets. "How is he?" "Made partner in March. Finally. He worked..." She caught something in Rory's face and stopped. "Sorry. That's..." "It's fine." "He's actually here this week. The conference. He's on a panel tomorrow. Reputation in the digital age, protecting the client." One syllable of laughter, no humour in it. "Standing room only, probably." Carys checked her phone, face down on the bar and lit with a queue of little messages, and her posture reorganised itself. "God, is that the time. There's a reception. The conference do, some club off Greek Street. I only ducked in for one quiet one, my head's killing me, the cab's at ten..." "He'll be at that." "He's hosting it. His firm's turn this year. The partner do, whatever." She said it lightly, already gathering her scarf. "Funny, actually. You might bump into him this week. He'd love that. He'd be..." She stopped with one arm in her coat. "When did you last see him." "Saturday. Conference drinks. Why?" "You told him you'd seen me." The arm came back out of the coat. Carys put both hands flat on the bar. "He asked. He does this thing where he goes quiet and sad, and the whole room tilts towards him. He asked if anyone had heard from you, and I'd had two glasses, and I said I'd seen you." "Where." "London! I said London. That's all, I swear." "London's big." "I know it's big." "How did he look, when you said it." Carys opened her mouth, and closed it, and the blow-dry went out of her altogether. "He cried." The word sat on the bar between them like something spilled. Men like Evan cried at weddings, at the end of films, on the kitchen floor with her wrist held in one warm hand. Rory knew the full catalogue. She had shelved it herself. "Rory." "I'm fine." "You don't look fine." "I never do. Saves time." Carys wound the scarf up to her throat. At the door she stopped, half-turned, the lanyard swinging against the camel wool. "I won't say I saw you. Obviously." "Enjoy the reception." "Aurora..." "Rory." "Rory. My number's the same. The old one. I kept it. In case." The door swung, let Soho in and out, and closed her on the far side of it. Rory counted to four. "Si." He was already under the till, and outside the window the green died in the glass. "Give me a name." "Evan." He set his cloth down. He crossed to the bookshelf that no one but regulars ever leaned on, and the third shelf gave under his hand, and the whole case swung open on its quiet hinge, the room behind it dark and ready.
created_at"2026-09-02T10:51:41.666Z" 9/2/2026, 10:51:41 AM
model"z-ai/glm-5.3-20260816"
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generation_time902162
tokens_prompt4445
tokens_completion29955
native_tokens_prompt4207
native_tokens_completion28879
native_tokens_completion_images(null)
native_tokens_reasoning26777
native_tokens_cached0
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num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags13
adverbTagCount0
adverbTags(empty)
dialogueSentences100
tagDensity0.13
leniency0.26
rawRatio0
effectiveRatio0
96.81% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1568
totalAiIsmAdverbs1
found
0
adverb"lightly"
count1
highlights
0"lightly"
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)
96.81% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1568
totalAiIsms1
found
0
word"electric"
count1
highlights
0"electric"
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
narrationSentences63
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences63
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences149
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen49
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1568
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions21
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions36
wordCount850
uniqueNames10
maxNameDensity1.29
worstName"Rory"
maxWindowNameDensity3
worstWindowName"Carys"
discoveredNames
Empress1
Nest1
Tuesday1
Soho2
Rory11
Carys11
Cardiff1
Silas5
One2
Evan1
persons
0"Nest"
1"Rory"
2"Carys"
3"Silas"
4"Evan"
places
0"Soho"
1"Cardiff"
2"One"
globalScore0.853
windowScore0.667
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences51
glossingSentenceCount1
matches
0"sounded like accusations in that accent"
72.45% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.276
wordCount1568
matches
0"no one but"
1"no one but"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences149
matches
0"let that sit"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs118
mean13.29
std15.21
cv1.145
sampleLengths
09
18
250
319
43
54
66
738
861
92
1027
111
121
135
144
1580
1621
1710
1827
196
2013
214
227
239
244
2510
2626
2717
283
2918
306
3128
321
332
348
358
364
372
386
3911
408
414
4212
4324
443
453
4649
475
486
495
99.69% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences63
matches
0"been planed"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs132
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences149
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount857
adjectiveStacks0
stackExamples(empty)
adverbCount22
adverbRatio0.025670945157526253
lyAdverbCount1
lyAdverbRatio0.0011668611435239206
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences149
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences149
mean10.52
std9.58
cv0.91
sampleLengths
09
18
218
332
419
53
64
76
824
92
104
118
1219
1316
149
1517
162
177
188
1912
201
211
225
234
2422
2516
266
2736
2821
295
305
3119
328
336
3413
354
367
379
384
3910
4026
4117
423
4318
446
4526
462
471
482
498
63.53% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats7
diversityRatio0.40939597315436244
totalSentences149
uniqueOpeners61
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences60
matches
0"Then it closed, and a"
1"Then the second passed and"
ratio0.033
53.33% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount25
totalSentences60
matches
0"Her jacket hung over the"
1"He went back down the"
2"She pulled off one glove"
3"It lived three hours west"
4"They performed the half-hug of"
5"She brought the outside in"
6"She took the stool beyond"
7"she said to Silas"
8"His signet ring tapped once"
9"He took the note and"
10"She held her left hand"
11"She turned her glass by"
12"She looked into her wine,"
13"She squinted at the nearest"
14"She gave up on the"
15"She emptied the glass and"
16"Her thumb worried the stem"
17"She kept her voice level,"
18"She caught something in Rory's"
19"She said it lightly, already"
ratio0.417
18.33% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount53
totalSentences60
matches
0"Rory flattened the last of"
1"Her jacket hung over the"
2"Silas set down a glass"
3"He went back down the"
4"The radio turned low."
5"The door swung and let"
6"A conference lanyard hung against"
7"She pulled off one glove"
8"Nobody in this city used"
9"It lived three hours west"
10"They performed the half-hug of"
11"She brought the outside in"
12"The Cardiff had been planed"
13"She took the stool beyond"
14"she said to Silas"
15"Silas pulled the cork and"
16"His signet ring tapped once"
17"He took the note and"
18"Rory turned her glass a"
19"She held her left hand"
ratio0.883
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences60
matches(empty)
ratio0
71.43% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences30
technicalSentenceCount3
matches
0"Her jacket hung over the neighbouring stool, still carrying the Empress kitchen in its collar, sweet chilli and peanut oil, a smell that had become hers the way…"
1"They performed the half-hug of people who had once shared a bathroom, one arm each, wrong angles, Carys's cold cheek against hers."
2"She took the stool beyond Rory's jacket and unwound a scarf that had cost more than a week of cash tips."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags13
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags4
fancyCount0
fancyTags(empty)
dialogueSentences100
tagDensity0.04
leniency0.08
rawRatio0
effectiveRatio0
87.9687%