Run: 2026-09-25-01M3CKCRW0JWP43F8EQEGGZA5K

Run Details

Duration:
19.0s
Cost:
$0.022419
Provider:
Mistral

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 door rattled under the third knock, each strike sharp as a judge’s gavel. Rory froze mid-step, the delivery bag slung over her shoulder suddenly feeling like a lead weight. No one ever knocked on Eva’s door. Not with three deadbolts between the world and her research. The knock came again, insistent. She set the bag down, the scent of Golden Empress’ black bean sauce still clinging to her sleeves. The peephole offered a distorted view: a charcoal suit, slicked-back platinum hair, and the unmistakable glint of an ivory cane handle. Her pulse spiked. The deadbolts turned with a series of metallic clicks, each one louder than the last. The door swung open before she could second-guess herself. Lucien Moreau stood in the dim hallway, his heterochromatic gaze—amber and black—locking onto hers with the precision of a blade finding its sheath. The air between them thickened, charged with the kind of silence that hummed. “Rory.” Her name in his voice was a chasm. She gripped the doorframe. “You’re supposed to call first.” “And you’re supposed to answer my letters.” She didn’t flinch. “I don’t recall agreeing to that.” A faint smirk tugged at his lips, but it didn’t reach his eyes. “Still playing the ice queen, I see.” Ptolemy, Eva’s tabby, chose that moment to slink between her legs, tail flicking against her calf. The cat eyed Lucien with the same suspicion she felt. “Eva’s not here,” Rory said, blocking the doorway. “Good.” He adjusted his cane, the movement deliberate. “I didn’t come for Eva.” The words hung, sharp and unyielding. She should’ve slammed the door. Should’ve called Silas downstairs to throw him out. But her body refused to obey, rooted in place by the weight of his presence, the way his cologne—bergamot and something darker, like gunpowder—wrapped around her senses. “Then why are you here?” she demanded. Lucien’s gaze dropped to her wrist, where the crescent scar peeked out from under her sleeve. “You know why.” She crossed her arms. “Enlighten me.” He exhaled, a sound that might’ve been frustration or amusement. “The last time we spoke, you walked away mid-conversation. Left a few things unresolved.” “And now you’re here to resolve them?” “Now,” he said, stepping closer, “I’m here because you owe me.” The words were a spark to tinder. “I owe you nothing.” “Don’t you?” His cane tapped once against the floor. “Three years ago, Marseille. You asked for my help. I gave it. No questions, no strings. And then you vanished.” Her fingers tightened around the doorframe. “I paid you.” “Money isn’t everything, Rory.” “It was the deal.” “Deals change.” His voice dropped, the French lilt more pronounced. “People change.” She wanted to argue, to slam the door in his face and pretend this conversation never happened. But the past clawed at her, a ghost she’d tried to outrun. Marseille. The safe house. The way he’d looked at her when she’d told him she was leaving, his jaw tight, his silence louder than any accusation. Ptolemy wound around her ankles, purring. Traitor. “Fine.” She stepped back, gesturing him inside with a sweep of her arm. “But if you’re here to guilt me, save your breath. I don’t do regrets.” Lucien crossed the threshold, his presence swallowing the small flat whole. The space felt smaller, the air thicker. His gaze swept over the clutter—books stacked like Jenga towers, scrolls pinned under mugs of cold tea, Eva’s notes scrawled in the margins of every surface. “She’s been busy,” he observed. “She’s always busy.” Rory shut the door, the click of the deadbolts a punctuation mark. “What do you want, Luc?” He turned, the movement fluid, predatory. “Information.” “Not my department.” “It is when it concerns you.” She arched a brow. “Concerning me how?” He reached into his coat, withdrawing a folded slip of paper. The parchment was yellowed, the edges singed. “This was left at my office. Addressed to you.” She took it, unfolding it carefully. The handwriting was jagged, the ink smudged as if written in haste. *For Aurora Carter. The past isn’t done with you. Neither is he.* Her stomach twisted. “Who sent it?” “If I knew, I wouldn’t be here.” His voice was steel. “But I know the handwriting. It’s Avaros script.” The words hit like a physical blow. Avaros. The demon realm. His father’s realm. Her fingers trembled. “You think this is about your father?” “My father doesn’t send warnings.” Lucien’s jaw tightened. “But his enemies do.” She looked up, meeting his gaze. “And you think I’m involved.” “I think,” he said, stepping closer, “that someone is using you as bait. And I think you’re stupid enough to walk right into it.” The insult stung, but she didn’t let it show. “I can handle myself.” “Can you?” His cane lifted, the tip tracing the air between them. “Last time you ‘handled yourself,’ you ended up with a knife in your ribs and a demon’s mark on your wrist.” Her hand instinctively covered the scar. “That was different.” “Was it?” His voice softened, the edge of it razor-thin. “You’re still running, Rory. From him. From me. From the truth.” She wanted to deny it. To tell him he was wrong, that she’d moved on, that London was her fresh start. But the words stuck in her throat. The truth was a living thing between them, coiled and ready to strike. “Why now?” she asked, her voice barely above a whisper. “Why come back after all this time?” Lucien’s gaze didn’t waver. “Because you’re in danger. And because, despite your best efforts, I still give a damn.” The admission hung in the air, raw and unguarded. She wanted to laugh, to scoff, to tell him he was mistaken. But the look in his eyes—amber and black, burning with something she refused to name—held her silent. Ptolemy chose that moment to leap onto the table, knocking over a stack of books. The crash shattered the tension. Rory exhaled, rubbing her temples. “You’re impossible.” “And you’re stubborn.” He reached out, his fingers brushing hers as he took the note back. The contact was electric, a spark that traveled up her arm. “Let me help you.” She pulled her hand away, but the warmth lingered. “I don’t need your help.” “Liar.” She glared at him. “Get out.” He didn’t move. “Make me.” The challenge was a gauntlet thrown. She should’ve called his bluff. Should’ve marched to the door and thrown it open. But her body betrayed her, her feet rooted to the floor, her heart pounding in her chest like a drum. “You’re infuriating,” she said, her voice shaking with something she refused to identify as fear. “And you’re beautiful when you’re angry.” His smirk was back, but his eyes were serious. “But this isn’t about us, Rory. This is about survival.” She wanted to argue, to tell him he was wrong, that she didn’t need him. But the note in her hand was a reminder—someone was watching. Someone was waiting. And Lucien was the only one who could help her face it. “Fine,” she said, her voice steady despite the storm inside her. “But we do this my way.” His smirk deepened. “Wouldn’t have it any other way.” She turned away, her fingers curling into fists. “First rule: No secrets.” “Agreed.” “Second rule: You don’t get to touch me.” His laughter was low, dark. “We’ll see.” She spun back, her eyes flashing. “This isn’t a game, Luc.” “No,” he said, his voice suddenly serious. “It’s not. But if we’re going to survive this, we play by my rules too.” “And what are those?” He stepped closer, his voice a whisper. “You don’t run. Not from this. Not from me.” The air between them crackled, charged with something older than the note, older than the scars. She should’ve pushed him away. Should’ve told him to leave. But she didn’t. Instead, she met his gaze, her chin lifted in defiance. “Try and stop me.” His hand shot out, gripping her wrist, his thumb brushing the crescent scar. “I will.” The touch was a brand, searing through her skin, her resolve. She yanked her hand back, but the heat remained, a ghost of his touch. “This changes nothing,” she said, her voice breathless. “It changes everything,” he replied, his eyes dark with promise. A crash from the hallway—footsteps, heavy and hurried. Both of them froze, their heads snapping toward the door. Lucien’s grip on his cane tightened. “We’re not alone.” Rory’s pulse spiked. “Eva’s not due back for hours.” “Then it’s not Eva.” The footsteps stopped outside the door. A shadow stretched across the gap beneath it, long and distorted. Lucien moved in front of her, his body a shield. “Stay behind me.” She didn’t argue. For the first time in years, she didn’t argue. The doorknob rattled. Then, a voice, low and guttural, seeped through the wood. “Little bird,” it hissed. “We’ve been looking for you.”
created_at"2026-09-25T15:36:55.431Z" 9/25/2026, 3:36:55 PM
model"mistralai/mistral-medium-3.5-20260430"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1090
moderation_latency(null)
generation_time18926
tokens_prompt4383
tokens_completion2415
native_tokens_prompt4231
native_tokens_completion2143
native_tokens_completion_images(null)
native_tokens_reasoning0
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"default"
usage0.022419
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.21.0; linux; x64))"
http_referer(null)
request_id"req-1790350615-TA5Jf72y1zVjmRQQGdgY"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1790350615-TYXCtlynBnoHaYCGVoq9"
upstream_id"1a4c1dcfe2a04d498900e5dbbce17f72"
provider_responses
0
endpoint_id"38ef23a9-5cb3-46fa-85ec-7aed174f04eb"
id"1a4c1dcfe2a04d498900e5dbbce17f72"
is_byokfalse
latency1087
model_permaslug"mistralai/mistral-medium-3.5-20260430"
provider_name"Mistral"
status200
total_cost0.022419
cache_discount(null)
upstream_inference_cost0
provider_name"Mistral"
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
totalTags22
adverbTagCount2
adverbTags
0"His cane tapped once [once]"
1"She stepped back [back]"
dialogueSentences81
tagDensity0.272
leniency0.543
rawRatio0.091
effectiveRatio0.049
86.62% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1495
totalAiIsmAdverbs4
found
0
adverb"suddenly"
count2
1
adverb"carefully"
count1
2
adverb"barely above a whisper"
count1
highlights
0"suddenly"
1"carefully"
2"barely above a whisper"
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)
13.04% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1495
totalAiIsms26
found
0
word"weight"
count2
1
word"glint"
count1
2
word"pulse"
count2
3
word"charged"
count2
4
word"silence"
count2
5
word"resolve"
count2
6
word"lilt"
count1
7
word"stomach"
count1
8
word"trembled"
count1
9
word"tracing"
count1
10
word"whisper"
count2
11
word"shattered"
count1
12
word"tension"
count1
13
word"electric"
count1
14
word"warmth"
count1
15
word"pounding"
count1
16
word"reminder"
count1
17
word"searing"
count1
18
word"footsteps"
count2
highlights
0"weight"
1"glint"
2"pulse"
3"charged"
4"silence"
5"resolve"
6"lilt"
7"stomach"
8"trembled"
9"tracing"
10"whisper"
11"shattered"
12"tension"
13"electric"
14"warmth"
15"pounding"
16"reminder"
17"searing"
18"footsteps"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"hung in the air"
count1
highlights
0"hung in the air"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences125
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences125
filterMatches(empty)
hedgeMatches
0"tried to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences183
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen29
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords12
totalWords1486
ratio0.008
matches
0"For Aurora Carter. The past isn’t done with you. Neither is he."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions25
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions31
wordCount1055
uniqueNames13
maxNameDensity0.85
worstName"Lucien"
maxWindowNameDensity1.5
worstWindowName"Lucien"
discoveredNames
Eva3
Golden1
Moreau1
Lucien9
Silas1
French1
Jenga1
Rory5
Aurora1
Carter1
London1
Ptolemy3
Should3
persons
0"Eva"
1"Moreau"
2"Lucien"
3"Silas"
4"Rory"
5"Aurora"
6"Carter"
7"Ptolemy"
8"Should"
places
0"London"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences83
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1486
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount3
totalSentences183
matches
0"chose that moment"
1"on, that London"
2"chose that moment"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs93
mean15.98
std11.64
cv0.728
sampleLengths
047
15
239
33
424
536
61
717
87
99
1020
1126
128
1313
1446
157
1619
176
1824
197
2011
2111
2229
239
244
254
2612
2755
287
2927
3044
315
3220
337
343
356
367
3727
3818
3912
406
4119
4214
4310
4412
4511
4624
4713
4833
499
96.84% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences125
matches
0"was yellowed"
1"was jagged"
2"was mistaken"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs202
matches
0"was leaving"
1"was watching"
2"was waiting"
49.18% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount9
semicolonCount0
flaggedSentences6
totalSentences183
ratio0.033
matches
0"Lucien Moreau stood in the dim hallway, his heterochromatic gaze—amber and black—locking onto hers with the precision of a blade finding its sheath."
1"But her body refused to obey, rooted in place by the weight of his presence, the way his cologne—bergamot and something darker, like gunpowder—wrapped around her senses."
2"His gaze swept over the clutter—books stacked like Jenga towers, scrolls pinned under mugs of cold tea, Eva’s notes scrawled in the margins of every surface."
3"But the look in his eyes—amber and black, burning with something she refused to name—held her silent."
4"But the note in her hand was a reminder—someone was watching."
5"A crash from the hallway—footsteps, heavy and hurried."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount702
adjectiveStacks0
stackExamples(empty)
adverbCount18
adverbRatio0.02564102564102564
lyAdverbCount5
lyAdverbRatio0.007122507122507123
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences183
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences183
mean8.12
std5.33
cv0.657
sampleLengths
014
116
27
310
45
518
621
73
815
99
1023
1113
121
138
144
155
167
173
186
1913
207
2116
2210
238
248
255
266
275
288
2927
307
3116
323
334
342
3510
3614
377
3811
397
404
419
4220
436
443
454
464
4710
482
4917
55.19% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats4
diversityRatio0.3442622950819672
totalSentences183
uniqueOpeners63
56.02% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences119
matches
0"Instead, she met his gaze,"
1"Then, a voice, low and"
ratio0.017
41.85% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount53
totalSentences119
matches
0"She set the bag down,"
1"Her pulse spiked."
2"Her name in his voice"
3"She gripped the doorframe."
4"She didn’t flinch."
5"He adjusted his cane, the"
6"She should’ve slammed the door."
7"She crossed her arms."
8"He exhaled, a sound that"
9"he said, stepping closer"
10"His cane tapped once against"
11"Her fingers tightened around the"
12"His voice dropped, the French"
13"She wanted to argue, to"
14"She stepped back, gesturing him"
15"His gaze swept over the"
16"He turned, the movement fluid,"
17"She arched a brow."
18"He reached into his coat,"
19"She took it, unfolding it"
ratio0.445
35.63% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount101
totalSentences119
matches
0"The door rattled under the"
1"Rory froze mid-step, the delivery"
2"The knock came again, insistent."
3"She set the bag down,"
4"The peephole offered a distorted"
5"Her pulse spiked."
6"The deadbolts turned with a"
7"The door swung open before"
8"Lucien Moreau stood in the"
9"The air between them thickened,"
10"Her name in his voice"
11"She gripped the doorframe."
12"She didn’t flinch."
13"A faint smirk tugged at"
14"Ptolemy, Eva’s tabby, chose that"
15"The cat eyed Lucien with"
16"Rory said, blocking the doorway"
17"He adjusted his cane, the"
18"The words hung, sharp and"
19"She should’ve slammed the door."
ratio0.849
42.02% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences119
matches
0"To tell him he was"
ratio0.008
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences40
technicalSentenceCount1
matches
0"His hand shot out, gripping her wrist, his thumb brushing the crescent scar."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags22
uselessAdditionCount9
matches
0"His voice dropped, the French lilt more pronounced"
1"Rory shut, the click of the deadbolts a punctuation mark"
2"His cane lifted, the tip tracing the air between them"
3"His voice softened, the edge of it razor-thin"
4"she asked, her voice barely above a whisper"
5"He reached out, his fingers brushing hers as he took the note back"
6"she said, her voice steady despite the storm inside her"
7"he said, his voice suddenly serious"
8"she said, her voice breathless"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags12
fancyCount3
fancyTags
0"she demanded (demand)"
1"he observed (observe)"
2"it hissed (hiss)"
dialogueSentences81
tagDensity0.148
leniency0.296
rawRatio0.25
effectiveRatio0.074
82.5466%