Run: 2026-09-10-01M25DFBAK3406S7ZY0NB0A4MS

Run Details

Duration:
3m 18s
Cost:
$0.001663
Provider:
DeepSeek

Model input

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

Model response

AI
The rag in Rory's hand had gone grey with grime, and she was scrubbing at a stubborn ring of dried red wine on the mahogany when the door swung open. The bell above it chimed, a tinny, cheerful sound that grated against the low hum of the cooler and the faint, melancholic piano drifting from the speakers. She didn't look up. It was barely six, the Nest's true patrons weren't due for hours. This would be a tourist, maybe a lost soul seeking a quiet pint before the Soho chaos began. "Just a minute," she called over her shoulder, wringing the rag into the bucket at her feet. The smell of lemon polish and stale beer fought for dominance in the air. "Take your time. I'm not sure I'm in the right place anyway." The voice stopped her cold. It was a voice from another life, a life of lecture halls in Cardiff and cheap cider on the pier. A voice that had whispered secrets in the dark of her childhood bedroom and later, a voice that had pleaded with her over a crackling phone line from London. Slowly, Rory straightened, the rag falling from her fingers to land with a wet slap on the floor. She turned. The woman standing just inside the door was a ghost, but a ghost who had been to a very expensive tailor. Her hair, once a wild cascade of auburn curls, was now a sleek, polished curtain of jet black that brushed her collarbones. A razor-sharp fringe cut a straight line across her forehead. Gone were the ripped jeans and band t-shirts. In their place was a dove-grey silk blouse and tailored trousers that probably cost more than Rory's monthly rent. A slim gold watch glinted on her wrist. The only thing that remained of the girl Rory knew was the slight, familiar arch of a single dark eyebrow. "Eva," Rory breathed. The name tasted like ash in her mouth. A small, tight smile played on Eva's lips, but it didn't reach her eyes. They were the same shade of deep brown, but the openness was gone, replaced by a guarded stillness, like the surface of a deep, cold lake. "Hello, Rory. You're a hard woman to find." Rory’s gaze swept over her again. The expensive clothes, the perfect hair, the complete and utter lack of the nervous, chaotic energy that had always defined her friend. This was a stranger wearing Eva's face. "What are you doing here?" "I was in the neighbourhood. Heard this place had character." Eva's eyes scanned the bar, taking in the old maps and photographs on the walls, the worn leather booths, the single, guttering candle on a table near the window. "They weren't wrong." "This isn't a tourist spot, Eva. How did you find me?" Rory's voice was flat, the shock hardening into something defensive. She crossed her arms, her own worn flannel shirt and jeans feeling like a costume. "Silas was very… helpful." Eva took a step further into the room, her heels clicking softly on the wooden floorboards. "Once I mentioned your name." Of course. Silas and his network. He wouldn't have given her up without a reason. He never did anything without a reason. Rory made a mental note to have a very sharp word with her landlord. "You should have called." "Would you have answered?" The question hung between them, heavy and undeniable. No. Rory wouldn't have. She had spent three years meticulously building a wall, brick by brick, and Eva was the one person who could shatter it with a single look. The silence stretched, filled only by the piano's mournful notes. Eva walked to the bar and slid onto a stool, her movements graceful and economical. She placed a sleek, black leather handbag on the counter. "I'll have what you're having." Rory stared at her for a long moment, then turned and grabbed a clean glass. She poured two fingers of the cheap Scotch she kept for herself, the amber liquid catching the dim light. She slid one glass across the bar. Eva picked it up, her fingers wrapping around the crystal. No tremor. The old Eva's hands were always shaking, whether from too much coffee or too much anxiety. "You look good," Eva said, taking a slow sip. "I look like I've been cleaning a bar all day," Rory countered. "I didn't say you looked clean. I said you looked good. Solid. Like you've landed." "And you look like you've been carved from ice." The words were out before Rory could stop them, sharp and meant to wound. Eva didn't flinch. She simply set her glass down, the soft click echoing in the cavernous space. "A necessary evolution. You of all people should understand that." "No. I don't. I understand running. I understand hiding. I don't understand… this." Rory gestured vaguely at Eva's entire being. "Don't you?" Eva leaned forward, her eyes narrowing. "You're the one who disappeared, Rory. You changed your number. You deleted your social media. You vanished from the face of the earth. The last I heard, you were with Evan. Then… nothing. I was terrified." The mention of his name sent a familiar chill down Rory's spine. She picked up her own glass and drank, letting the burn chase the cold away. "You were the one who told me to leave him. You sent me the money for the train ticket. You said, 'Get to London, I'll follow when I can.' That was three years ago, Eva." "And I meant it." "But you didn't follow." Rory's voice was barely a whisper. "You just… sent emails. Texts. All from different numbers. All saying you were in trouble. All asking for money. Then nothing." Eva’s gaze dropped to the bar for a fraction of a second before meeting Rory's again. It was a tiny crack in the facade. "It was complicated. The people I was involved with… they weren't the sort you just walk away from." "So you became one of them." It wasn't a question. The expensive clothes, the new, hard edge. It all painted a picture Rory didn't want to see. "I did what I had to do to survive." Eva's voice was low, intense. "To get the resources to get out. To get back to you. To make sure you were safe." "Safe?" Rory laughed, a bitter, hollow sound. "I've been waiting tables and dodging my past for three years. I'm not safe. I'm stagnant. I've just learned to be quiet." "You're not in pieces in a ditch somewhere. That's a specific kind of safe." Eva finished her Scotch and pushed the glass away. "We both know what Evan was capable of. What his family was capable of. I did what I had to do to get the leverage to make sure they never looked for you again. Or for me." Rory’s blood ran cold. She thought of Evan’s face, the charming smile that could turn so quickly to a sneer, the grip on her wrist that left bruises. She thought of the scar on her own wrist, a souvenir from a fight she never spoke of. She looked at Eva, at the hard, beautiful stranger in front of her, and for the first time, she saw the ghost of the girl she knew inside the new, formidable shell. The sacrifice. "What did you do, Eva?" Rory whispered. "It doesn't matter." "Tell me." Eva looked away, her perfectly composed mask finally showing a hairline fracture. "Let's just say I traded one kind of cage for another. A more comfortable one. With a better view. And now… now I'm out. I'm free. But the only place I could think to go was here. To you." She looked back at Rory, and for an instant, the coldness in her eyes melted, revealing a desperate, sad girl who had been drowning for years. "I have nowhere else to go, Rory." The sound of a key turning in the front door made them both jump. Silas. He always came in at six-thirty to count the tills and do his quiet, meditative paperwork before opening. The door swung open, and there he was, his auburn hair gleaming in the light spilling from the entrance. He paused on the threshold, his gaze flicking from Rory's frozen posture to Eva's elegant, tense figure perched on the stool. He didn't look surprised. He looked like a man who had just opened a letter he knew contained bad news. "Ladies," he said, his voice a low rumble. He tapped the signet ring on his right hand against the doorframe once, a habitual gesture. "I see you've found each other." Eva turned on her stool, the movement fluid. She gave Silas a nod, cool and businesslike. "Mr. Blackwood. Thank you for your assistance. Your discretion, as always." Silas’s eyes, sharp and hazel, settled on Rory. He saw the glass in her hand, the stunned look on her face. He saw the invisible walls crumbling around her. He walked in and gently closed the door, shutting out the noise of Soho and sealing the three of them in the sudden, suffocating quiet of the bar. He limped towards them, his slight gait a familiar rhythm. He didn't go to the till. He came to the bar, standing opposite the two women. "I assume you've both been brought up to speed on recent events," he said. Rory just stared. "You knew she was coming." "I knew the situation had… resolved," Silas said carefully. He looked at Eva. "Is it? Resolved?" Eva nodded once. "The debt is paid. The ledger is clean. On my end." "And on theirs?" "They're not a concern anymore," Eva said, and the absolute, chilling certainty in her voice made Rory's skin prickle. Silas studied her for a long moment, then gave a single, slow nod. "Very well." He reached under the bar and pulled out a thick brown envelope, yellowed with age. He placed it on the counter between them. "The cost," he said, his gaze on Rory. "You asked me for help three years ago. I gave it. But nothing's free. The information you're about to receive, this final piece of the puzzle… it comes with a price." Rory looked from the envelope to Silas's unreadable face, then to Eva's pale, waiting expression. The air in the room was thick, charged with unspoken plans and the ghosts of old favours. Her hand trembled as she reached for the envelope. It felt heavy, heavier than paper had any right to be. "Aurora," Silas said, his voice dropping to a near whisper. He never used her full name. "Before you open that, you need to know. The Wolf is back in the city."
created_at"2026-09-10T10:26:04.498Z" 9/10/2026, 10:26:04 AM
model"deepseek/deepseek-v4.1-flash-20260910"
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags20
adverbTagCount2
adverbTags
0"Rory gestured vaguely [vaguely]"
1"Silas said carefully [carefully]"
dialogueSentences53
tagDensity0.377
leniency0.755
rawRatio0.1
effectiveRatio0.075
72.05% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1789
totalAiIsmAdverbs10
found
0
adverb"slowly"
count1
1
adverb"very"
count4
2
adverb"softly"
count1
3
adverb"quickly"
count1
4
adverb"perfectly"
count1
5
adverb"gently"
count1
6
adverb"carefully"
count1
highlights
0"slowly"
1"very"
2"softly"
3"quickly"
4"perfectly"
5"gently"
6"carefully"
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)
32.92% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1789
totalAiIsms24
found
0
word"silk"
count1
1
word"familiar"
count3
2
word"eyebrow"
count1
3
word"perfect"
count1
4
word"chaotic"
count1
5
word"scanned"
count1
6
word"silence"
count1
7
word"crystal"
count1
8
word"echoing"
count1
9
word"chill"
count1
10
word"whisper"
count2
11
word"facade"
count1
12
word"comfortable"
count1
13
word"gleaming"
count1
14
word"resolved"
count2
15
word"chilling"
count1
16
word"unreadable"
count1
17
word"charged"
count1
18
word"unspoken"
count1
19
word"trembled"
count1
highlights
0"silk"
1"familiar"
2"eyebrow"
3"perfect"
4"chaotic"
5"scanned"
6"silence"
7"crystal"
8"echoing"
9"chill"
10"whisper"
11"facade"
12"comfortable"
13"gleaming"
14"resolved"
15"chilling"
16"unreadable"
17"charged"
18"unspoken"
19"trembled"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"blood ran cold"
count1
highlights
0"blood ran cold"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences108
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences108
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences138
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen39
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1789
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions18
unquotedAttributions0
matches(empty)
16.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions66
wordCount1257
uniqueNames9
maxNameDensity2.15
worstName"Rory"
maxWindowNameDensity4.5
worstWindowName"Rory"
discoveredNames
Rory27
Nest1
Soho2
Cardiff1
London1
Eva23
Scotch2
Evan1
Silas8
persons
0"Rory"
1"Nest"
2"Eva"
3"Evan"
4"Silas"
places
0"Soho"
1"Cardiff"
2"London"
globalScore0.426
windowScore0.167
91.18% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences85
glossingSentenceCount2
matches
0"tasted like ash in her mouth"
1"looked like a man who had just opened a l"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1789
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences138
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs52
mean34.4
std24.54
cv0.713
sampleLengths
091
131
212
372
4110
511
648
740
842
936
1025
1140
124
1348
1430
1569
169
1712
1815
1923
2027
2120
2244
2362
244
2531
2642
2727
2832
2929
3060
3180
327
333
342
3551
3633
3793
3830
3927
4057
4126
4214
438
4416
4514
463
4719
4838
4939
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences108
matches
0"was gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs195
matches
0"was scrubbing"
1"were always shaking"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences138
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1260
adjectiveStacks1
stackExamples
0"razor-sharp fringe cut"
adverbCount48
adverbRatio0.0380952380952381
lyAdverbCount16
lyAdverbRatio0.012698412698412698
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences138
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences138
mean12.96
std8.63
cv0.665
sampleLengths
030
127
24
312
418
517
614
712
85
920
1029
1118
122
1321
1422
1510
168
1719
188
1920
203
218
2214
2326
248
256
2622
277
285
2939
303
3121
3215
3320
345
352
364
379
387
3914
404
414
428
431
443
4526
4610
4715
4810
495
39.86% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats14
diversityRatio0.2826086956521739
totalSentences138
uniqueOpeners39
34.01% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences98
matches
0"Slowly, Rory straightened, the rag"
ratio0.01
48.57% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount42
totalSentences98
matches
0"She didn't look up."
1"It was barely six, the"
2"she called over her shoulder,"
3"It was a voice from"
4"Her hair, once a wild"
5"They were the same shade"
6"She crossed her arms, her"
7"He wouldn't have given her"
8"He never did anything without"
9"She had spent three years"
10"She placed a sleek, black"
11"She poured two fingers of"
12"She slid one glass across"
13"She simply set her glass"
14"She picked up her own"
15"It was a tiny crack"
16"It wasn't a question"
17"It all painted a picture"
18"She thought of Evan’s face,"
19"She thought of the scar"
ratio0.429
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount95
totalSentences98
matches
0"The rag in Rory's hand"
1"The bell above it chimed,"
2"She didn't look up."
3"It was barely six, the"
4"This would be a tourist,"
5"she called over her shoulder,"
6"The smell of lemon polish"
7"The voice stopped her cold."
8"It was a voice from"
9"A voice that had whispered"
10"The woman standing just inside"
11"Her hair, once a wild"
12"A razor-sharp fringe cut a"
13"A slim gold watch glinted"
14"The only thing that remained"
15"The name tasted like ash"
16"A small, tight smile played"
17"They were the same shade"
18"Rory’s gaze swept over her"
19"The expensive clothes, the perfect"
ratio0.969
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences98
matches(empty)
ratio0
57.14% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences50
technicalSentenceCount6
matches
0"The bell above it chimed, a tinny, cheerful sound that grated against the low hum of the cooler and the faint, melancholic piano drifting from the speakers."
1"A voice that had whispered secrets in the dark of her childhood bedroom and later, a voice that had pleaded with her over a crackling phone line from London."
2"The woman standing just inside the door was a ghost, but a ghost who had been to a very expensive tailor."
3"The only thing that remained of the girl Rory knew was the slight, familiar arch of a single dark eyebrow."
4"The expensive clothes, the perfect hair, the complete and utter lack of the nervous, chaotic energy that had always defined her friend."
5"She looked back at Rory, and for an instant, the coldness in her eyes melted, revealing a desperate, sad girl who had been drowning for years."
25.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags20
uselessAdditionCount4
matches
0"Eva took, her heels clicking softly on the wooden floorboards"
1"Eva leaned, her eyes narrowing"
2"he said, his voice a low rumble"
3"Silas said, his voice dropping to a near whisper"
93.40% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags11
fancyCount3
fancyTags
0"Rory breathed (breathe)"
1"Rory laughed (laugh)"
2"Rory whispered (whisper)"
dialogueSentences53
tagDensity0.208
leniency0.415
rawRatio0.273
effectiveRatio0.113
76.8266%