Run: 2026-09-24-01M39VTDDH752PPZS0RAF9A9C7

Run Details

Duration:
5m 44s
Cost:
$0.028752
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
The chain held the door at four inches, and through the gap Lucien Moreau filled the frame in charcoal and ivory, patient as a debt. "Three deadbolts," he said. "Eva's thorough." "Eva's paranoid. There's a difference." I kept two fingers hooked through the chain. "She's in Bath until Sunday." "Tuesday. She presented this morning." A pause you could have parked a van in. "I checked." Of course he had. The suit was cut close enough to be a second skin, the platinum hair slicked back without a single stray strand, the ivory cane planted on the mat like he paid rent on it. He looked like a magazine cover that had been in a fight. One amber eye. One black. The black one had never blinked enough in its life. "What do you want, Lucien?" "You've stopped calling me Luc." "You've stopped earning it." Something moved behind the amber eye. Amusement, or its understudy. "I'm returning something that belongs to you." "We don't take refunds." The stairwell light caught his hand where it gripped the cane's handle. The knuckles were split and scabbed brown, and a smear of blood had dried down the ivory like a signature. Against my better judgement, which had never been my strongest muscle, I slid the chain free. "Alors," he said, and stepped past me into the flat. The curry house below breathed up through the floorboards, cardamom and scorched onion, the smell that had soaked into Eva's walls years before either of us arrived. Books rose in drifts across every surface, paperbacks stacked spine-up, scrolls rubber-banded into fat sausages, sticky notes colonising the lamp, the kettle, the window frame. Above the door, Eva's chalked ward sat in its careful ring of symbols, and as Lucien crossed the threshold it shivered, a grey flicker, then settled. Ptolemy lifted his head off a mound of printouts, clocked the visitor, and, traitor, poured himself around Lucien's ankle with a purr like a small engine. "You remember him, then." "Cats have no ethics. I've always admired that." He walked to the bookshelf and set the cane against it, third shelf, left of the window, exactly where it used to live. Muscle memory. My chest did something I declined to examine. The ferrule had click-clacked over the lino on his way in, and the sound had walked up my spine ahead of him, and I hated that my body still kept his schedule. I put the kitchen counter between us, felt foolish about it, kept it anyway. He noticed. He noticed everything. It was his occupation. I filled the kettle because my hands wanted a job. I never switched it on. He didn't point that out, which was its own cruelty. "You're bleeding." "I was. Briefly." "That's not an answer. That's an arrangement of words." "You always did grade my sentences." He peeled his gloves off finger by finger, black leather, and laid them over the back of Eva's chair. "Six weeks, Rory. You changed your delivery route. You stopped answering. You had Eva screen my calls like a hostile embassy. Most people simply say goodbye." "Most people haven't been lied to for a year." "I never lied." "You curated." I pulled the ledger off the nearest stack, Eva's handwriting dense down the margins, and dropped it on the counter between us. It landed with a slap. "Page forty. Go on. You know it by heart. I can tell." He looked at the ledger the way a man looks at an old scar on somebody else's body. "Eva has a gift for finding things." "She found your ledger entry. Your name, my name, and a date fourteen months before you ever turned up at the Golden Empress with my delivery. 'Locate the Malphora girl.' Someone paid you to find me before we'd met." My voice stayed level. I'd have bet money on it. My hands did not. "Yes." Two letters. A year of my life, settled in two letters. "The commission was a location," he said. "An address, a photograph, a pattern of habit. That was the whole of it." "And you took it." "I took it." "And then you kept taking my deliveries. And my Thursday evenings. And..." I stopped. Thursday evenings. He used to carry the orders nobody else would ride out after dark, and stay while I ate on the steps of the bar, and once, in February, he'd held an umbrella over me for forty minutes and lied about having somewhere to be. Three weeks after Eva found the ledger, I watched the door of the Golden Empress every time the bell went, and every time it wasn't him I got to be relieved and gutted in the same breath. "And then I stayed," he said. Stayed. One word doing the work of the confession he'd withheld for a year. "Say the rest, then. The part you never said." "The rest was never safe to say." "Say it anyway." His mouth opened. Closed. A man who traded in words, disarmed by four of mine. "What's a Malphora?" I asked, because one of us had to keep working. "Nobody has called you that in your life. I know." "Then why is it in your ledger?" "Because someone did call you that. Someone who pays in old coin and does not accept refusal in any of the four languages I offered it in." "Why are you here tonight, Lucien?" "Because the client has grown impatient." He unbuttoned his cuff. Left arm. "Because I refused delivery, and refused it in writing, which my father's people regard as a vulgarity. Because I have a week, give or take, to settle the affairs of a man who was never entirely a man, and there is one item I refuse to leave in probate." The cuff came open. He rolled the sleeve to the elbow. The brand sat on his forearm like a bruise learning to be a wound: black script in characters I had no alphabet for, crawling in a slow ring from wrist to elbow. As I watched, a line of it lifted off the skin and dissolved, and the whole ring tightened, and Lucien's jaw set the way it did when he wanted you to believe nothing cost him. "What is that?" "A breach penalty. The contract named me. I declined to perform. They don't offer refunds, so they take skin instead." He said it the way he read out delivery addresses. "One line a night. When the ring closes, so do I." Ptolemy stopped purring. "You could have told me." My voice split on the second word. "Six weeks ago. One sentence at my door, any door, and I'd have..." "You'd have stayed." He came round the counter, unhurried, and the flat was small enough that unhurried became a problem. "To fix it. You fix things, Rory. It's your whole religion. And staying near me is how people die. So I let you hate me instead. You were safe while you hated me." "That wasn't yours to decide." "No. It was mine to decide for you, which is a different crime with the same sentence." His hand came up. I should have stepped back. I didn't. His thumb found the small crescent-shaped scar on my left wrist, the one from the bicycle and the river wall and being eleven years old, and traced it once, feather-light. "Still here," he said. "You remember." "I remember everything about you. It's the curse of the trade." His voice dropped into something built for a smaller room. "I was hired to find you, chérie. Nobody hired me to memorise how you take your coffee, or the face you make when Eva wins an argument, or that scar. Those I did for free. They are the only things I have ever owned outright." Below us the curry house clattered on. His thumb rested on my pulse, which was betraying me at a professional rate. I knew the shape of his mouth from a mistake I'd made twice, and the flat smelled of cardamom and old paper and the smoke that lived in his coat, and I hated him, I hated him, and the distance between hating him and kissing him had never been thinner than four inches. "You're still a coward, Luc." "Flawlessly maintained. One does one's best." Then his thumb left my wrist. He took the cane off the shelf in one clean motion, and the ivory head clicked, and a blade slid out of it, thin as a knitting needle. "Problem," he said. "You think?" "The problem is not us. How many exits does this building have?" "One. The stairwell. Why?" "Wrong answer." Below us, the curry house went quiet. Not quieter. Quiet. The clatter of pans, the radio, the whole warm racket of it, cut off between one breath and the next. Then footsteps on the stairs. Slow. Unhurried. The same unhurried I'd been admiring a minute ago. Lucien moved between me and the door without appearing to move at all. Above the door, Eva's chalked ward began to smoke. The first deadbolt turned itself over. Then the second. "Ah," Lucien said, and the warmth had gone out of his voice like a snuffed wick. "He brought a locksmith."
created_at"2026-09-24T14:06:27.781Z" 9/24/2026, 2:06:27 PM
model"aion-labs/aion-3.5-mini-20260923"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1476
moderation_latency(null)
generation_time343947
tokens_prompt4383
tokens_completion19393
native_tokens_prompt4138
native_tokens_completion18468
native_tokens_completion_images(null)
native_tokens_reasoning17221
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
num_fetches(null)
web_search_engine(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"stop"
service_tier(null)
usage0.0287518
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.21.0; linux; x64))"
http_referer(null)
request_id"req-1790258787-9FfjAVD6eNB5k0rY8X2Z"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1790258787-qyuyXBylDkytQd2tPMGu"
upstream_id"341286f177ea4c34b185f7214cde5a32"
provider_responses
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endpoint_id"60ac3bdc-90ec-4769-9193-2c00b4d79562"
id"341286f177ea4c34b185f7214cde5a32"
is_byokfalse
latency1476
model_permaslug"aion-labs/aion-3.5-mini-20260923"
provider_name"AionLabs"
status200
total_cost0.0287518
cache_discount(null)
upstream_inference_cost0
provider_name"AionLabs"
response_cache_source_id(null)
data_region"global"
workspace_id"97e315e5-d303-487d-83c1-83180e8a13d4"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags17
adverbTagCount0
adverbTags(empty)
dialogueSentences64
tagDensity0.266
leniency0.531
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1540
totalAiIsmAdverbs0
found(empty)
highlights(empty)
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)
83.77% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1540
totalAiIsms5
found
0
word"flicker"
count1
1
word"traced"
count1
2
word"pulse"
count1
3
word"footsteps"
count1
4
word"warmth"
count1
highlights
0"flicker"
1"traced"
2"pulse"
3"footsteps"
4"warmth"
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
narrationSentences87
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences87
filterMatches(empty)
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences133
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen53
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1540
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions24
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions24
wordCount986
uniqueNames11
maxNameDensity0.61
worstName"Lucien"
maxWindowNameDensity1.5
worstWindowName"Eva"
discoveredNames
Lucien6
Moreau1
Eva6
Thursday1
February1
Golden1
Empress1
Stayed1
Left1
Ptolemy2
One3
persons
0"Lucien"
1"Moreau"
2"Eva"
3"Stayed"
4"Ptolemy"
places
0"February"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences51
glossingSentenceCount1
matches
0"looked like a magazine cover that had bee"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1540
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences133
matches
0"hated that my"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs76
mean20.26
std22.46
cv1.108
sampleLengths
025
16
218
316
465
55
65
74
810
97
104
1148
1210
1378
1426
154
168
1765
1848
192
203
219
2251
239
243
252
2627
2712
2818
297
3053
311
3211
3321
344
353
3697
376
3814
399
407
413
4215
4313
4410
457
4627
476
4861
4911
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences87
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs174
matches
0"was betraying"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences133
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount991
adjectiveStacks1
stackExamples
0"small crescent-shaped scar"
adverbCount18
adverbRatio0.018163471241170535
lyAdverbCount1
lyAdverbRatio0.0010090817356205853
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences133
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences133
mean11.58
std11.33
cv0.978
sampleLengths
025
14
22
313
45
514
62
74
834
912
103
112
1210
135
145
154
166
174
187
194
2012
2120
2216
2310
2427
2525
2626
2726
284
298
3023
312
328
3332
3414
352
363
374
3810
395
4010
412
423
439
4425
4526
469
473
482
4922
64.16% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats8
diversityRatio0.42105263157894735
totalSentences133
uniqueOpeners56
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences68
matches
0"Of course he had."
1"Then his thumb left my"
2"Then footsteps on the stairs."
3"Then the second."
ratio0.059
25.88% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount33
totalSentences68
matches
0"I kept two fingers hooked"
1"He looked like a magazine"
2"he said, and stepped past"
3"He walked to the bookshelf"
4"My chest did something I"
5"I put the kitchen counter"
6"He noticed everything."
7"It was his occupation."
8"I filled the kettle because"
9"I never switched it on."
10"He didn't point that out,"
11"He peeled his gloves off"
12"I pulled the ledger off"
13"It landed with a slap."
14"He looked at the ledger"
15"My voice stayed level"
16"I'd have bet money on"
17"My hands did not."
18"He used to carry the"
19"His mouth opened."
ratio0.485
55.59% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount55
totalSentences68
matches
0"The chain held the door"
1"I kept two fingers hooked"
2"A pause you could have"
3"The suit was cut close"
4"He looked like a magazine"
5"The black one had never"
6"Something moved behind the amber"
7"Amusement, or its understudy."
8"The stairwell light caught his"
9"The knuckles were split and"
10"he said, and stepped past"
11"The curry house below breathed"
12"Books rose in drifts across"
13"Ptolemy lifted his head off"
14"He walked to the bookshelf"
15"My chest did something I"
16"The ferrule had click-clacked over"
17"I put the kitchen counter"
18"He noticed everything."
19"It was his occupation."
ratio0.809
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences68
matches(empty)
ratio0
71.43% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences30
technicalSentenceCount3
matches
0"Against my better judgement, which had never been my strongest muscle, I slid the chain free."
1"His thumb rested on my pulse, which was betraying me at a professional rate."
2"I knew the shape of his mouth from a mistake I'd made twice, and the flat smelled of cardamom and old paper and the smoke that lived in his coat, and I hated hi…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags17
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags9
fancyCount0
fancyTags(empty)
dialogueSentences64
tagDensity0.141
leniency0.281
rawRatio0
effectiveRatio0
89.8275%