Run: 2026-09-25-01M3CKFRN5C8BZKEQABDY4W9BQ

Run Details

Duration:
21.8s
Cost:
$0.023964
Provider:
Mistral

Model input

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

Model response

AI
The glass slipped from her fingers before it hit the bar. Aurora barely caught it, the amber liquid sloshing over the rim as her other hand shot out to steady the tumbler. The ice cubes clinked against the glass, a sharp sound that cut through the low hum of the Raven’s Nest. She exhaled, the tension in her shoulders easing just a fraction. Too close. “Still saving the world one drink at a time, I see.” The voice came from behind her, smooth and laced with something she couldn’t place—amusement, maybe, or the ghost of a laugh. Aurora turned, her pulse quickening as she took in the man leaning against the bar. Tall, broad-shouldered, with a face that had once been all sharp angles and now bore the weight of years in the lines around his eyes. His auburn hair, streaked with grey, was neatly combed back, and his hazel eyes held the same quiet intensity she remembered. Silas Blackwood. She hadn’t seen him in five years. Not since that night in Prague, the one that had left him with a limp and her with a lesson in how quickly trust could turn to ash. “Silas,” she said, her voice steadier than she felt. “Didn’t know you still owned this place.” “Didn’t know you still lived in London.” He pushed off the bar, the slight hitch in his step more pronounced than she remembered. The signet ring on his right hand caught the dim light as he gestured to the stool beside her. “Mind if I join you?” Aurora hesitated, then nodded. Silas settled onto the stool, his movements deliberate, controlled. The bartender, a wiry man with a scar running from his temple to his jawline, slid a glass of whisky toward Silas without a word. Old habits. Silas took a sip, his eyes never leaving hers. “You look well.” “Liar,” she said, a smirk tugging at her lips. She knew what he saw: the dark circles under her eyes, the way her black hair had lost some of its shine, the crescent-shaped scar on her wrist—old, but still visible. “But I’ll take it.” He chuckled, low and rough, like gravel underfoot. “Always did have a way with words.” The air between them was thick with things unsaid. Aurora swirled her drink, the ice clinking again. “What happened to your leg?” “Prague,” he said simply, as if that explained everything. And maybe it did. She’d heard the stories—whispers in the shadows of MI6, the kind of tales that got passed around like contraband. A botched operation. A knee shattered by a bullet. A career ended in a single, bloody moment. She traced the rim of her glass with a finger. “You retired.” “Had to.” He took another sip, his gaze flickering over the bar, the patrons, the exit. Old instincts. “The knee wouldn’t let me run anymore. And in my line of work, running’s rather essential.” Aurora nodded, though she knew there was more to it than that. Silas had never been the type to walk away from a fight unless he had no other choice. “And now?” “Now I run a bar.” He gestured to the walls, the old maps and black-and-white photographs that gave the Raven’s Nest its character. “Keep my ear to the ground. Help out the occasional friend.” “Friends,” she repeated, the word tasting bitter. She and Silas had been more than friends once. Or at least, she’d thought so. Before Prague. Before the lies. He must have seen the shift in her expression because his own darkened. “You’re still angry.” “No,” she lied. “Just surprised to see you.” Silas leaned in slightly, his voice dropping to a murmur. “You’re the one who disappeared, Rory. Not me.” The use of her old nickname sent a jolt through her. No one called her Rory anymore. Not since she’d fled Cardiff, not since she’d reinvented herself in London as Aurora, the delivery girl with no past. “I had my reasons.” “Evan?” His voice was careful, like he was testing the weight of the name. Aurora’s grip tightened on her glass. “How do you know about Evan?” “I make it my business to know things.” He swirled his drink, the ice clinking. “Heard you left him. Heard he didn’t take it well.” She exhaled sharply. “You heard wrong. I left him. He didn’t like it. End of story.” Silas studied her for a long moment, his hazel eyes unreadable. “You always were a terrible liar.” Aurora looked away, her jaw tightening. The Raven’s Nest was quieter than usual tonight, the usual hum of conversation muted, as if the bar itself was holding its breath. The green neon sign above the entrance cast a faint glow over the room, turning the edges of everything slightly surreal. “Why’d you really leave MI6?” she asked suddenly, changing the subject. “Wasn’t just the knee, was it?” Silas’s expression shuttered. “Some things aren’t worth the cost.” “And what cost was that?” He didn’t answer right away. Instead, he finished his drink and set the glass down with a quiet thud. “You ever think about going back?” Aurora laughed, a sharp, humourless sound. “To what? The life where I spent my days lying to everyone, including myself? No thanks.” “You were good at it.” “So were you.” She met his gaze, unflinching. “But here we are.” Silas sighed, rubbing his thumb over the signet ring. “Here we are.” A silence settled between them, heavy with the weight of years and choices and roads not taken. Aurora could feel the ghost of the past pressing in, the memories of late nights in safe houses, of whispered conversations and the kind of trust that only came from knowing someone would have your back, no matter what. “You ever miss it?” she asked quietly. Silas’s eyes flicked to the hidden bookshelf at the back of the bar, the one that led to the secret room where deals were made and secrets were traded. “Every damn day.” Aurora followed his gaze, then looked back at him. “But you don’t regret leaving.” “No,” he said, his voice firm. “I don’t.” She nodded, though she wasn’t sure she believed him. Or maybe she just didn’t want to. Because if Silas Blackwood, the man who had once been the best in the business, could walk away without looking back, what did that say about her? About the choices she’d made, the life she’d built? The bartender slid another whisky toward Silas, and he caught it with a nod of thanks. “You working tonight?” Aurora shook her head. “Just stopping in for a drink.” “Alone?” “Yeah.” Silas took a slow sip, his eyes never leaving hers. “You always were a terrible liar,” he repeated. She should have walked away then. Should have finished her drink, tossed some money on the bar, and left before the past could catch up with her. But she didn’t. Because for the first time in years, she felt something she hadn’t in a long time: the pull of an old connection, the weight of a history that refused to stay buried. “What do you want, Silas?” He set his glass down, the ice clinking softly. “Same thing I’ve always wanted. To keep the people I care about safe.” Aurora’s breath caught. “And do you? Care about me, I mean?” Silas didn’t answer right away. Instead, he reached into his jacket and pulled out a small, worn leather wallet. He flipped it open and slid it across the bar toward her. Inside was a photograph, faded at the edges. A younger Aurora, grinning, her arm slung around a younger Silas. They were standing in front of a pub in Cardiff, the kind of place where the beer was cheap and the memories were cheaper. She picked up the photo, her fingers trembling slightly. “Where’d you get this?” “Found it in an old box,” he said. “Reminded me of better days.” Aurora stared at the photo, the weight of it pressing against her chest. Better days. Before the lies. Before the betrayal. Before she’d learned that trust was a currency, and she’d been bankrupt for a long time. She slid the wallet back toward him. “Some things are better left in the past.” Silas took the wallet, but he didn’t put it away. Instead, he tapped the photo with a finger. “Maybe. But the past has a way of catching up with you, Rory. And when it does, you’d better be ready.” Aurora’s pulse quickened. “Is that a threat?” “A warning.” He finally tucked the wallet back into his jacket. “There are people looking for you. People who remember what you used to be.” She stiffened. “What people?” Silas’s expression was grim. “The kind who don’t take kindly to loose ends.” Aurora’s mind raced. She’d been careful. Had changed her name, her hair, her life. But some ghosts refused to stay buried. “How long have you known?” “Long enough.” He leaned in, his voice barely above a whisper. “They’re close, Rory. And when they find you, they won’t ask questions.” She swallowed hard, the weight of his words settling over her like a shroud. “Why tell me this?” “Because you’re still one of mine.” His voice was rough, the words raw. “And I protect what’s mine.” Aurora’s throat tightened. She wanted to believe him. Wanted to trust that, after all this time, Silas Blackwood still had her back. But trust was a luxury she couldn’t afford. Not anymore. She finished her drink in one swift motion, the burn of the whisky grounding her. “I can take care of myself.” Silas didn’t argue. He just nodded, his eyes shadowed. “I know you can. But you don’t have to.” The offer hung between them, heavy and unspoken. Aurora could feel the pull of it, the temptation to step back into the world she’d left behind. To let Silas be her shield, her guide, her mentor again. But she’d spent too long running to turn back now. She stood, the stool scraping against the floor. “I should go.” Silas didn’t try to stop her. But as she turned to leave, his voice followed her, quiet but firm. “They’ll find you, Rory. And when they do, you’ll need friends.” Aurora paused at the door, her hand on the frame. She didn’t look back. “I’ll keep that in mind.” Then she stepped out into the London night, the weight of the past pressing against her back like a storm on the horizon.
created_at"2026-09-25T15:38:33.521Z" 9/25/2026, 3:38:33 PM
model"mistralai/mistral-medium-3.5-20260430"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1034
moderation_latency(null)
generation_time21689
tokens_prompt4445
tokens_completion2645
native_tokens_prompt4286
native_tokens_completion2338
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"
usage0.023964
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.21.0; linux; x64))"
http_referer(null)
request_id"req-1790350713-CMdBRbeBycUp3HXE3ifE"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1790350713-rFj7baRjZ5dGMvA1XieY"
upstream_id"d0a6dbbbf93349fdbfbc15a758ad90db"
provider_responses
0
endpoint_id"38ef23a9-5cb3-46fa-85ec-7aed174f04eb"
id"d0a6dbbbf93349fdbfbc15a758ad90db"
is_byokfalse
latency1034
model_permaslug"mistralai/mistral-medium-3.5-20260430"
provider_name"Mistral"
status200
total_cost0.023964
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
totalTags17
adverbTagCount3
adverbTags
0"he said simply [simply]"
1"she asked suddenly [suddenly]"
2"she asked quietly [quietly]"
dialogueSentences73
tagDensity0.233
leniency0.466
rawRatio0.176
effectiveRatio0.082
74.29% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1750
totalAiIsmAdverbs9
found
0
adverb"quickly"
count1
1
adverb"slightly"
count3
2
adverb"sharply"
count1
3
adverb"really"
count1
4
adverb"suddenly"
count1
5
adverb"softly"
count1
6
adverb"barely above a whisper"
count1
highlights
0"quickly"
1"slightly"
2"sharply"
3"really"
4"suddenly"
5"softly"
6"barely above a whisper"
100.00% AI-ism character names
Target: 0 AI-default names (16 tracked, −20% each)
codexExemptions
0"Blackwood"
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
34.29% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1750
totalAiIsms23
found
0
word"tension"
count1
1
word"pulse"
count2
2
word"weight"
count7
3
word"intensity"
count1
4
word"shattered"
count1
5
word"traced"
count1
6
word"unreadable"
count1
7
word"surreal"
count1
8
word"silence"
count1
9
word"could feel"
count2
10
word"flicked"
count1
11
word"quickened"
count1
12
word"raced"
count1
13
word"whisper"
count1
14
word"unspoken"
count1
highlights
0"tension"
1"pulse"
2"weight"
3"intensity"
4"shattered"
5"traced"
6"unreadable"
7"surreal"
8"silence"
9"could feel"
10"flicked"
11"quickened"
12"raced"
13"whisper"
14"unspoken"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches2
maxInWindow1
found
0
label"weight of words/silence"
count1
1
label"sent a shiver through"
count1
highlights
0"the weight of his words"
1"sent a jolt through"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences128
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences128
filterMatches(empty)
hedgeMatches
0"try to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences182
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen39
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1747
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions17
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions60
wordCount1331
uniqueNames10
maxNameDensity1.65
worstName"Silas"
maxWindowNameDensity3
worstWindowName"Silas"
discoveredNames
Raven3
Nest3
Blackwood3
Prague2
Silas22
Old2
Rory1
Cardiff2
London2
Aurora20
persons
0"Raven"
1"Blackwood"
2"Silas"
3"Rory"
4"Aurora"
places
0"Prague"
1"Cardiff"
2"London"
globalScore0.674
windowScore0.667
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences93
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1747
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences182
matches
0"learned that trust"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs73
mean23.93
std17.23
cv0.72
sampleLengths
065
111
284
335
416
547
640
712
844
915
1022
1149
1212
1334
1432
1534
1627
1716
188
1918
2041
2114
2212
2325
2416
2517
2650
2717
289
295
3025
3122
325
3312
3412
3556
367
3732
3814
398
4052
4119
4210
431
441
4518
4662
475
4822
4911
99.78% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences128
matches
0"got passed"
1"were made"
2"were traded"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs221
matches
0"was testing"
1"was holding"
2"were standing"
95.76% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount3
semicolonCount0
flaggedSentences3
totalSentences182
ratio0.016
matches
0"The voice came from behind her, smooth and laced with something she couldn’t place—amusement, maybe, or the ghost of a laugh."
1"She knew what he saw: the dark circles under her eyes, the way her black hair had lost some of its shine, the crescent-shaped scar on her wrist—old, but still visible."
2"She’d heard the stories—whispers in the shadows of MI6, the kind of tales that got passed around like contraband."
99.03% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1338
adjectiveStacks0
stackExamples(empty)
adverbCount55
adverbRatio0.04110612855007474
lyAdverbCount14
lyAdverbRatio0.01046337817638266
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences182
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences182
mean9.6
std6.95
cv0.724
sampleLengths
011
121
220
311
42
511
621
715
825
921
102
117
1228
139
147
1523
1619
175
184
199
2025
212
229
233
249
2531
264
278
287
299
308
315
329
334
3419
353
366
378
3810
392
4016
412
4216
4312
4418
452
4623
4711
487
499
50.18% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats7
diversityRatio0.3241758241758242
totalSentences182
uniqueOpeners59
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount4
totalSentences117
matches
0"Instead, he finished his drink"
1"Instead, he reached into his"
2"Instead, he tapped the photo"
3"Then she stepped out into"
ratio0.034
79.83% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount41
totalSentences117
matches
0"She exhaled, the tension in"
1"His auburn hair, streaked with"
2"She hadn’t seen him in"
3"she said, her voice steadier"
4"He pushed off the bar,"
5"she said, a smirk tugging"
6"She knew what he saw:"
7"He chuckled, low and rough,"
8"he said simply, as if"
9"She’d heard the stories—whispers in"
10"She traced the rim of"
11"He took another sip, his"
12"He gestured to the walls,"
13"she repeated, the word tasting"
14"She and Silas had been"
15"He must have seen the"
16"His voice was careful, like"
17"He swirled his drink, the"
18"She exhaled sharply."
19"she asked suddenly, changing the"
ratio0.35
79.66% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount89
totalSentences117
matches
0"The glass slipped from her"
1"Aurora barely caught it, the"
2"The ice cubes clinked against"
3"She exhaled, the tension in"
4"The voice came from behind"
5"Aurora turned, her pulse quickening"
6"His auburn hair, streaked with"
7"She hadn’t seen him in"
8"she said, her voice steadier"
9"He pushed off the bar,"
10"The signet ring on his"
11"Aurora hesitated, then nodded."
12"Silas settled onto the stool,"
13"The bartender, a wiry man"
14"Silas took a sip, his"
15"she said, a smirk tugging"
16"She knew what he saw:"
17"He chuckled, low and rough,"
18"The air between them was"
19"Aurora swirled her drink, the"
ratio0.761
100.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount7
totalSentences117
matches
0"Before the lies."
1"Because if Silas Blackwood, the"
2"Because for the first time"
3"Before the lies."
4"Before the betrayal."
5"Before she’d learned that trust"
6"To let Silas be her"
ratio0.06
83.33% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences48
technicalSentenceCount4
matches
0"Tall, broad-shouldered, with a face that had once been all sharp angles and now bore the weight of years in the lines around his eyes."
1"She’d heard the stories—whispers in the shadows of MI6, the kind of tales that got passed around like contraband."
2"The Raven’s Nest was quieter than usual tonight, the usual hum of conversation muted, as if the bar itself was holding its breath."
3"Because for the first time in years, she felt something she hadn’t in a long time: the pull of an old connection, the weight of a history that refused to stay b…"
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags17
uselessAdditionCount8
matches
0"she said, her voice steadier than she felt"
1"she said, a smirk tugging at her lips"
2"he said simply, as if that explained everything"
3"He took, his gaze flickering over the bar, the patrons, the exit"
4"she repeated, the word tasting bitter"
5"He swirled, the ice clinking"
6"he said, his voice firm"
7"He leaned in, his voice barely above a whisper"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags10
fancyCount3
fancyTags
0"she repeated (repeat)"
1"she lied (lie)"
2"he repeated (repeat)"
dialogueSentences73
tagDensity0.137
leniency0.274
rawRatio0.3
effectiveRatio0.082
88.7605%