Run: 2026-09-23-01M37Q5STWPJKRX4H9Y90RF22V

Run Details

Duration:
1m 43s
Cost:
$0.021188
Provider:
AionLabs

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
Three knocks. Not Silas's knock, he used his elbow and made the whole door shudder. This was knuckle on wood, twice, then once on the frame, polite as a visiting priest. I opened the door on the chain and found an amber eye waiting in the gap. "Bonsoir, Aurora." "You're supposed to be dead." "Reports of my death are a service I pay for quarterly." A pale smile behind the eye. "May I come in? Standing upright is becoming negotiable." I should have shut the door. I'd rehearsed shutting the door, some nights, with the sort of detail that worried me. Slam, bolt, pour wine, toast my own good sense. Instead I studied him through the gap, the platinum hair slicked back save for one strand loosed by sweat, the charcoal suit still immaculate from the collar down. Then the suit ended at his left side, where a dark bloom had spread across the waistcoat and kept spreading. I closed the door. His expression folded into something wry through the wood. "Aurora." I slid the chain off. Principles are cheaper at midnight. He came in sideways, the way injured men do, and lowered himself onto my kitchen chair without being invited, because Lucien Moreau had never once in his life waited for an invitation. The ivory handle of his cane clicked against the table. His gloved hand stayed pressed below his ribs. "Your floor is new." "Your blood is on it now, so we're even." "Still the Welsh wit." He winced as he shifted. "I've missed it." "No, you haven't. You didn't come here for wit." I fetched the first aid tin from under the sink and set it on the table harder than necessary. "You came here because you were bleeding out somewhere between here and Whitechapel and my flat is the one address nobody would guess you'd be stupid enough to use." "Flattering, and accurate." He peeled the glove off with his teeth. "A rare combination." His hand was wrong. Black threads crawled out from under his cuff, up the back of his wrist, thin as ink dropped in water. Not blood poisoning. Something older. I'd seen a man in Silas's bar with marks like that once, and I'd watched two undertakers carry that man out before last orders. "That's Avaros work." "Perceptive." "That's fatal, Lucien." "Not tonight." He loosened his tie one-handed, unhurried, as if the black threads weren't climbing past his elbow. "The blade that made it belonged to one of my father's collectors. Nasty pieces of iron. They don't cut so much as, how do you say, claim." "Claim what?" "Whatever they touch." His mismatched eyes lifted to mine. "I'd rather it didn't claim me, so here I am, hat in hand." "Here you are." I crossed my arms. "Eight months. You left a note on my pillow with three hundred quid and a line of Baudelaire, and now you're in my kitchen at midnight bleeding Avaros into my floor, and you want me to, what, dig it out with tweezers and a spoon?" "A spoon would be beneath the dignity of the injury." He considered. "Tweezers, yes. And the salt." "The salt." "Iron doesn't care for salt. Basic chemistry, Aurora, do keep up." Something in my chest wanted to laugh. I strangled it. He watched me strangle it, too, because of course he did, and something flickered behind the amber eye that I refused to catalogue. "You don't get to do the charming thing." "I wasn't attempting charm." "You're always attempting charm. It's your native language. You do it in four others." I pulled the chair around to face him and sat, close enough to smell him, cedar and cigarette smoke and underneath it something scorched, like a struck match. "Why my flat?" "Because a collector tracks debts, and I owe you one." He said it lightly, but the words came out level, stripped of the Marseille lilt he wore like cologne. "The night I left, I left because a collector had my scent and a habit of collecting people near the debtor. You were the nearest person. So I made certain the trail went cold, and I made certain it went cold away from you." "The note." "The note was a coward's instrument. I'm not proud of it." "The money was worse." "Yes." He looked at his ruined hand instead of me. "I've since had it explained to me." "By who?" "By the eight months of thinking about your face when you read it." The radiator ticked. Downstairs, muffled through the floorboards, Silas's sound system thudded its slow Friday heartbeat, and I hated that I could hear it, because it meant this was still an ordinary night, because it meant he was real and sitting two feet from me and not a story I'd told myself to make the leaving hurt less. "The salt," I said, and stood, because my hands needed employment. "And you'll tell me everything while I work. What collector, what debt, and why a fixer who charges five grand a question couldn't buy his way out of it." "The debt is my existence. There's no exchange rate on that." He unbuttoned the waistcoat and eased the fabric back from the wound, and I heard myself inhale through my teeth. The cut itself was clean, almost surgical, but the flesh around it had gone grey as candle wax, and the black threads pulsed. Gently. Like something breathing. "My father died in the spring. His debts did not die with him. I inherited a name, half a bloodline, and a ledger I never signed." "So you ran." "So I negotiated. Twenty years of my particular talents, in exchange for the ledger torn in half." His mouth curved without any humour in it. "The collector tore it in half tonight. Then he pinned me to a wall in Bermondsey and told me the second half comes due when I'm dead. They're traditionalists in Avaros. They prefer to collect in full." I set the salt box on the table. My hands had stopped being steady somewhere around the word wall, and I pressed them flat against my thighs until they were. "Shirt off." "Aurora, at least buy me, " "Shirt. Off." I snapped on the gloves. "And if you say one charming thing while I've got tweezers inside you, I'm going to leave them there." He laughed, a real one this time, low and surprised, and obeyed, and I made the mistake of looking at the crescent of his shoulder and the old scar beneath his collarbone that I already knew the shape of, and I made a second mistake, which was letting him see that I remembered. "Ah," he said softly. "Don't." "You kept the, " "I said don't." I gripped the tweezers and leaned in. "This is going to hurt. Think of Baudelaire." I found the iron on the first pass, a sliver no bigger than a fingernail, drinking his light. It fought the tweezers like a living thing, and sweat slid down Lucien's temple and he didn't make a sound, and I hated him a little for that too, the way he could take pain like a man settling a bill. The sliver came free with a sound like a sigh. I dropped it in the salt and it hissed, curled, blackened to nothing. Lucien exhaled, long and ragged, and for one unguarded second his head tipped forward until his forehead nearly rested against my collarbone. I felt the heat of him through my shirt. I did not move. That was the mistake I'd remember later, the not moving. "Merci," he murmured. "Don't thank me. Tell me how long we have before the collector realises you're not in Bermondsey." "An hour, perhaps. He's thorough. He'll walk the scent street by street." He straightened, and the wry mask slid back into place, but slower than usual, like a man dressing while exhausted. "There is a second matter." "There would be." "The collector doesn't only want me. My father's ledger has other names on it. Debts inherited, debts owed, names of people who hid debtors." He reached into his jacket with his good hand and laid a folded paper on the table. "I took this off the collector's man before I left. It's the list of collateral." I unfolded it. My blood went cold before my eyes finished reading, because I knew the handwriting at the top of the page, knew the way the E looped, knew it from birthday cards and shopping lists and years of research notes stacked floor to ceiling in a flat above a curry house on Brick Lane. The paper trembled in my grip. "Lucien. Why is Eva's name on this list?" He didn't answer. His head had turned toward the door, and his face had gone very still, and that was when I noticed the thudding through the floorboards had stopped. Silas's bar, on a Friday, at midnight, had gone silent as a grave. "Aurora." He rose from the chair, cane in hand, black threads already retreating up his arm as the wound wept clean. "When I say run, you take the fire escape and you go to Brick Lane. Do not argue with me tonight." The stairwell door downstairs opened. Two sets of footsteps. Unhurried. Coming up.
created_at"2026-09-23T18:06:49.216Z" 9/23/2026, 6:06:49 PM
model"aion-labs/aion-3.5-20260923"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency4622
moderation_latency(null)
generation_time102674
tokens_prompt4383
tokens_completion3226
native_tokens_prompt4138
native_tokens_completion3014
native_tokens_completion_images(null)
native_tokens_reasoning1039
native_tokens_cached4138
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"
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model_permaslug"aion-labs/aion-3.5-20260923"
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags20
adverbTagCount1
adverbTags
0"he said softly [softly]"
dialogueSentences66
tagDensity0.303
leniency0.606
rawRatio0.05
effectiveRatio0.03
87.10% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1550
totalAiIsmAdverbs4
found
0
adverb"lightly"
count1
1
adverb"gently"
count1
2
adverb"softly"
count1
3
adverb"very"
count1
highlights
0"lightly"
1"gently"
2"softly"
3"very"
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)
74.19% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1550
totalAiIsms8
found
0
word"flickered"
count1
1
word"charm"
count2
2
word"lilt"
count1
3
word"pulsed"
count1
4
word"trembled"
count1
5
word"grave"
count1
6
word"footsteps"
count1
highlights
0"flickered"
1"charm"
2"lilt"
3"pulsed"
4"trembled"
5"grave"
6"footsteps"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"blood ran cold"
count1
highlights
0"blood went cold"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences71
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences71
filterMatches
0"see"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences116
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen55
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1552
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions19
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions13
wordCount929
uniqueNames7
maxNameDensity0.43
worstName"Silas"
maxWindowNameDensity1
worstWindowName"Silas"
discoveredNames
Silas4
Lucien3
Moreau1
Marseille1
Friday2
Brick1
Lane1
persons
0"Silas"
1"Lucien"
2"Moreau"
places
0"Marseille"
1"Brick"
2"Lane"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences47
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1552
matches(empty)
80.46% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount3
totalSentences116
matches
0"carry that man"
1"hated that I"
2"see that I"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs64
mean24.25
std22.71
cv0.936
sampleLengths
031
116
22
35
426
578
613
71
810
950
104
119
1212
1357
1414
1553
163
171
183
1945
202
2122
2252
2317
242
2511
2633
278
284
2945
3073
312
3211
334
3417
352
3613
3758
3840
3984
403
4162
4230
432
446
4526
4653
474
481
494
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences71
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs162
matches
0"was letting"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences116
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount930
adjectiveStacks0
stackExamples(empty)
adverbCount32
adverbRatio0.034408602150537634
lyAdverbCount4
lyAdverbRatio0.004301075268817204
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences116
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences116
mean13.38
std12.68
cv0.948
sampleLengths
02
113
216
316
42
55
617
79
86
915
109
1128
1220
134
149
151
165
175
1832
1910
208
214
229
239
243
2528
2629
2711
283
294
3020
313
322
3324
343
351
363
3718
3827
392
409
4113
427
4345
4412
455
462
4711
487
493
68.10% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats11
diversityRatio0.46551724137931033
totalSentences116
uniqueOpeners54
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences64
matches
0"Instead I studied him through"
1"Then the suit ended at"
ratio0.031
0.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount42
totalSentences64
matches
0"I opened the door on"
1"I should have shut the"
2"I'd rehearsed shutting the door,"
3"I closed the door."
4"His expression folded into something"
5"I slid the chain off."
6"He came in sideways, the"
7"His gloved hand stayed pressed"
8"He winced as he shifted"
9"I fetched the first aid"
10"He peeled the glove off"
11"His hand was wrong."
12"I'd seen a man in"
13"He loosened his tie one-handed,"
14"His mismatched eyes lifted to"
15"I crossed my arms"
16"I strangled it."
17"He watched me strangle it,"
18"I pulled the chair around"
19"He said it lightly, but"
ratio0.656
22.50% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount56
totalSentences64
matches
0"This was knuckle on wood,"
1"I opened the door on"
2"A pale smile behind the"
3"I should have shut the"
4"I'd rehearsed shutting the door,"
5"I closed the door."
6"His expression folded into something"
7"I slid the chain off."
8"Principles are cheaper at midnight."
9"He came in sideways, the"
10"The ivory handle of his"
11"His gloved hand stayed pressed"
12"He winced as he shifted"
13"I fetched the first aid"
14"He peeled the glove off"
15"His hand was wrong."
16"I'd seen a man in"
17"He loosened his tie one-handed,"
18"His mismatched eyes lifted to"
19"I crossed my arms"
ratio0.875
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences64
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences24
technicalSentenceCount1
matches
0"He laughed, a real one this time, low and surprised, and obeyed, and I made the mistake of looking at the crescent of his shoulder and the old scar beneath his …"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags20
uselessAdditionCount1
matches
0"He said, but the words came out level, stripped of the Marseille lilt he wore like cologne"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags5
fancyCount2
fancyTags
0"he murmured (murmur)"
1"the wound wept (weep)"
dialogueSentences66
tagDensity0.076
leniency0.152
rawRatio0.4
effectiveRatio0.061
87.7451%