Run: 2026-10-06-01M48VV9HSYR5XQ9WVXXEAFV7C

Run Details

Duration:
54.0s
Cost:
$0.005937
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 Rory's fingers before she could catch it. It shattered against the sticky floor of the Raven's Nest, gin and tonic spraying across her trainers in a pale, glittering arc. She didn't apologise. She never did, not to Silas. "You're still clumsy, Malphora." Rory looked up. The man leaning against the bar's mahogany edge wore a charcoal suit that cost more than her monthly rent, and his silver signet ring caught the dim light as he raised his glass in mock salute. His auburn beard had gone mostly grey, threaded through with the same auburn she remembered from fifteen years ago, when they'd been sixteen and stupid and certain the world would bend to their will. "Still you, then." She wiped her hand on her jeans. "I heard you were dead." "Heard wrong." Silas Blackwood, though she'd never called him that, not once, pushed off the bar with the easy grace of a man who'd spent decades learning how to move through rooms unnoticed. He crossed to her in three strides, and she smelled bergamot and something darker, something that might have been gun oil or might have been the particular scent of old secrets. "Prague, 2019. Knee finally gave out. Retired with honours, pension, the lot." He stopped an arm's length away, close enough that she could see the scar bisecting his left eyebrow, the one she'd given him with a cricket bat when they were twelve. "You look..." He searched for the word. "Settled." "I look tired." "Same thing, at our age." Rory laughed, and it came out wrong, too sharp. She was twenty-five. She felt forty. The flat above the bar had been her sanctuary for three years now, ever since Eva had dragged her out of Cardiff and Evan's orbit, ever since she'd needed somewhere that didn't smell like him. She'd never expected to find Silas here, running this particular stretch of Soho, this bar with its green neon sign flickering like a dying heartbeat above the door. She'd known him as Si. Everyone had. Si Blackwood, whose father ran the off-licence on Clare Street, who'd taught her to pick locks and hotwire cars and lie to her parents with a straight face. They'd been inseparable until she was seventeen and he was eighteen and his father's debts caught up with him, and Si had vanished into the army, then intelligence, then whatever shadows he moved through now. "You're not drinking," she said. "Giving it up. Liver's not what it was." He turned, gesturing to the bar with his empty glass. "Sit. Please. I want to hear what you've been doing with yourself." "I deliver noodles." "For Golden Empress?" "Yu-Fei pays better than the others." She let him pour her another gin, neat this time, no tonic. The glass was warm from his hand. "You?" "Consulting. Occasionally." He settled onto the stool beside her, and his knee brushed hers, and she remembered being fifteen and certain that touch meant everything. "Mostly I run this place. Keep the lights on. Meet interesting people." "Like me?" "Like you." He smiled, and it was the same smile, crooked in the same place, but the lines around his eyes had deepened into trenches. "Especially you. I read about you, you know. Cardiff Gazette, three years back. 'Local Woman Foils Robbery.'" Rory's fingers found the crescent scar on her left wrist, the one from falling through a greenhouse window at eight, the one Evan had kissed once and called pretty before he'd started calling her other things. "That was nothing." "That was you." He reached for her hand, and she let him take it, let his thumb trace the scar without her pulling away. His skin was rougher than she remembered, calloused in new places. "That was always you. Even when you were running from everything, you were still you." She pulled her hand back. Not roughly. "I'm not running anymore." "No?" "I'm delivering noodles, Si. I'm living above a bar in Soho. I'm..." She gestured at herself, at the black hair she'd cut herself that morning, at the trainers held together with electrical tape, at the life she'd built from the wreckage of the one she'd planned. "I'm fine." The word hung between them, ugly and insufficient. Silas ordered two whiskies from the barman, a young woman with a nose ring and no patience for their silence. He didn't look at Rory when he spoke. "I was in Cardiff last month. Walked past your parents' house on Penlan Crescent. Lights were on. Your mother was in the kitchen, I could see her through the window. She looked well." "She is well." "Your father too. Retired now, I think. Barrister no more." "He retired two years ago." "Ah." Silas turned his glass in his hands, watching the amber liquid catch the light. "I didn't go in. Didn't knock. Didn't want to explain who I was, where I'd been, why I'd disappeared for fifteen years without a word." He finally looked at her, and his hazel eyes were the same, she realised, the same impossible colour they'd always been, flecked with gold and green and something that might have been grief. "I wrote you letters. Dozens of them. Never sent a single one." Rory felt the whisky burn as she drank, felt it settle somewhere cold in her chest. "Why not?" "What would I have said?" He laughed, but it was a broken sound. "That I was sorry? That I left because I had to, because your father's debts were my father's debts, because the men who came to our door had knives and patience? That I joined the army to run, not to serve? That every year since, I've wondered what would have happened if I'd stayed, if I'd found another way, if I'd been brave enough to come back and tell you the truth?" He set his glass down with a crack that made the barman flinch. "I wasn't brave, Rory. I was a boy who ran, and I've been running ever since, just in different directions." She thought of Evan, of the way he'd looked at her when he was angry, the way he'd made her small and smaller until she'd finally found the door. She thought of Eva, who'd answered the phone at three in the morning and said *come now, I've got a spare room and a bottle of wine and I don't care what he did*. She thought of Yu-Fei, who'd hired her without asking questions, who'd paid her in cash when the banks froze her accounts, who'd never once asked why she flinched at raised voices. "I didn't know," she said. "I thought you'd forgotten me. I thought everyone had." Silas reached across the bar and took her hand again, and this time she didn't pull away. His palm was warm, dry, the calluses familiar from a life she couldn't imagine. "I never forgot." His thumb traced the scar on her wrist, the same gesture as before, but slower now, more deliberate. "I have a flat in Belgravia. I don't use it much. Too many windows, too much glass, too easy to see in and out." He squeezed her fingers. "But I have a room in the back, no windows, a bed and a desk and a door that locks. If you ever need somewhere to go, somewhere he can't find you, you know where to find me." Rory looked at their joined hands. She thought of the flat above the bar, the thin walls, the way she could hear Silas moving through the rooms below at all hours, the way she'd learned to sleep through it, to need it. She thought of the life she'd built, careful and small and safe, and she thought of the life she'd wanted, the one with Cardiff University and Pre-Law and a future that didn't involve looking over her shoulder. "I don't need saving, Si." "I know." He released her hand, but only to reach for his whisky, to drink it down in one swallow that made his throat work. "I'm not offering to save you. I'm offering..." He stopped. Started again. "I'm offering to be someone who understands. Someone who knows what it costs to leave everything behind. Someone who won't ask you to explain why you're still afraid, still angry, still waiting for the other shoe to drop." He turned to face her fully, and his expression was open in a way she'd never seen, stripped of all the careful masks he wore for the world. "I'm offering myself, Rory. Whatever that's worth. Whatever it costs." The bar around them had filled while they talked, the after-work crowd spilling in from the streets, the murmur of conversation rising and falling like tide. Rory could hear the barman laughing at something, could smell the fryer from the kitchen, the particular grease-and-garlic scent that meant Yu-Fei's delivery had arrived early. She could go downstairs, she realised. She could collect her bag, her helmet, her evening's earnings. She could ride her bike through the London night, deliver her last order, climb the stairs to her flat, lock the door, and pretend that nothing had changed. Or she could stay. "I have a shift in an hour," she said. "I know." "I should go. Get ready." "Yes." Silas stood, and she stood with him, and they were close enough that she could smell him properly now, bergamot and something darker, the scent of a life lived in shadows. He was taller than she remembered, or she was shorter, or the years had simply made the distance between them feel larger than it was. "Rory." He used her real name, the one she'd reclaimed from the wreckage, the one that didn't belong to Evan or to Cardiff or to any version of herself she'd left behind. "I'm glad you're here. I'm glad you're alive. I'm glad you're..." He stopped. "I'm glad, that's all. I'm glad." She nodded, because she didn't know what else to do, because the words she wanted to say were too large for her mouth, too dangerous for the air between them. She turned toward the door, toward the green neon sign flickering above it, toward the night and the bike and the flat and the life she'd built. "Si?" He was already turning away, already becoming the bar owner again, the retired spymaster, the man who moved through rooms unnoticed. But he paused, one hand on the doorframe, and she saw the scar on his eyebrow, the one she'd given him, the one that had started everything. "Yeah?" "Thank you. For staying." He smiled, the crooked smile, and then he was gone, swallowed by the crowd, by the bar, by the life he'd built from his own wreckage. Rory stood in the doorway for a moment longer, feeling the weight of his hand still ghosting across her palm, feeling the whisky burning in her chest, feeling the future opening before her like a door she hadn't known was unlocked. Then she pushed through into the night, and the green neon sign flickered once, twice, three times, and held.
created_at"2026-10-06T15:03:23.968Z" 10/6/2026, 3:03:23 PM
model"mistralai/mistral-large-4-0-20261006"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency691
moderation_latency(null)
generation_time54016
tokens_prompt4445
tokens_completion2629
native_tokens_prompt4283
native_tokens_completion2493
native_tokens_completion_images(null)
native_tokens_reasoning0
native_tokens_cached3584
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"
usage0.00593657
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.21.0; linux; x64))"
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request_id"req-1791299003-QBi8YadmI6iyk6HtAh0J"
session_id(null)
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api_type"completions"
id"gen-1791299003-5ToSdBCBv63Qzovh5Jwj"
upstream_id"231e2141a6ba44f595801e3d4c4d9bd5"
provider_responses
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endpoint_id"19b3b5d7-23f6-4b63-8109-64a6cc37d996"
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is_byokfalse
latency627
model_permaslug"mistralai/mistral-large-4-0-20261006"
provider_name"Mistral"
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provider_name"Mistral"
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags23
adverbTagCount0
adverbTags(empty)
dialogueSentences59
tagDensity0.39
leniency0.78
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1854
totalAiIsmAdverbs0
found(empty)
highlights(empty)
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)
75.73% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1854
totalAiIsms9
found
0
word"shattered"
count1
1
word"eyebrow"
count2
2
word"sanctuary"
count1
3
word"silence"
count1
4
word"familiar"
count1
5
word"traced"
count1
6
word"weight"
count1
7
word"flickered"
count1
highlights
0"shattered"
1"eyebrow"
2"sanctuary"
3"silence"
4"familiar"
5"traced"
6"weight"
7"flickered"
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
emotionTells1
narrationSentences74
matches
0"was angry"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences74
filterMatches
0"feel"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences109
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen85
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords19
totalWords1854
ratio0.01
matches
0"come now, I've got a spare room and a bottle of wine and I don't care what he did"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions13
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions42
wordCount1339
uniqueNames17
maxNameDensity0.67
worstName"Rory"
maxWindowNameDensity1.5
worstWindowName"Rory"
discoveredNames
Rory9
Raven1
Nest1
Silas8
Blackwood2
Eva2
Cardiff3
Evan4
Soho1
Si3
Clare1
Street1
Yu-Fei2
University1
Pre-Law1
Started1
London1
persons
0"Rory"
1"Raven"
2"Silas"
3"Blackwood"
4"Eva"
5"Evan"
6"Si"
7"Yu-Fei"
8"Started"
places
0"Cardiff"
1"Soho"
2"Clare"
3"Street"
4"London"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences57
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1854
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences109
matches
0"pretend that nothing"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs51
mean36.35
std36.59
cv1.006
sampleLengths
042
14
273
315
4115
53
65
778
870
95
1030
113
123
1326
1437
152
1642
1739
1850
1911
201
2148
228
2361
243
2510
265
2785
2818
29118
3094
3114
32118
3379
345
35113
3696
374
389
392
405
411
4256
4351
4457
451
4648
471
484
4967
86.30% Passive voice overuse
Target: ≤2% passive sentences
passiveCount4
totalSentences74
matches
0"been sixteen"
1"been, flecked"
2"was gone"
3"was unlocked"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs227
matches
0"was already turning"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences109
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1347
adjectiveStacks0
stackExamples(empty)
adverbCount47
adverbRatio0.034892353377876766
lyAdverbCount11
lyAdverbRatio0.008166295471417966
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences109
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences109
mean17.01
std15.21
cv0.894
sampleLengths
011
122
23
36
44
53
636
734
810
95
1033
1131
1243
137
141
153
165
179
183
193
2035
2128
225
232
2428
2535
265
2718
2812
293
303
3118
327
331
3425
3512
362
3725
3817
3936
403
4124
4211
4315
445
452
464
471
4846
492
40.37% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats21
diversityRatio0.3577981651376147
totalSentences109
uniqueOpeners39
50.51% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences66
matches
0"Then she pushed through into"
ratio0.015
0.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount44
totalSentences66
matches
0"It shattered against the sticky"
1"She didn't apologise."
2"She never did, not to"
3"His auburn beard had gone"
4"She wiped her hand on"
5"He crossed to her in"
6"He stopped an arm's length"
7"He searched for the word"
8"She was twenty-five."
9"She felt forty."
10"She'd never expected to find"
11"She'd known him as Si."
12"They'd been inseparable until she"
13"He turned, gesturing to the"
14"She let him pour her"
15"He settled onto the stool"
16"He smiled, and it was"
17"He reached for her hand,"
18"His skin was rougher than"
19"She pulled her hand back."
ratio0.667
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount63
totalSentences66
matches
0"The glass slipped from Rory's"
1"It shattered against the sticky"
2"She didn't apologise."
3"She never did, not to"
4"Rory looked up."
5"The man leaning against the"
6"His auburn beard had gone"
7"She wiped her hand on"
8"Silas Blackwood, though she'd never"
9"He crossed to her in"
10"He stopped an arm's length"
11"He searched for the word"
12"Rory laughed, and it came"
13"She was twenty-five."
14"She felt forty."
15"The flat above the bar"
16"She'd never expected to find"
17"She'd known him as Si."
18"Si Blackwood, whose father ran"
19"They'd been inseparable until she"
ratio0.955
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences66
matches(empty)
ratio0
0.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences33
technicalSentenceCount8
matches
0"The man leaning against the bar's mahogany edge wore a charcoal suit that cost more than her monthly rent, and his silver signet ring caught the dim light as he…"
1"He crossed to her in three strides, and she smelled bergamot and something darker, something that might have been gun oil or might have been the particular scen…"
2"Si Blackwood, whose father ran the off-licence on Clare Street, who'd taught her to pick locks and hotwire cars and lie to her parents with a straight face."
3"She thought of Yu-Fei, who'd hired her without asking questions, who'd paid her in cash when the banks froze her accounts, who'd never once asked why she flinch…"
4"She thought of the life she'd built, careful and small and safe, and she thought of the life she'd wanted, the one with Cardiff University and Pre-Law and a fut…"
5"Rory could hear the barman laughing at something, could smell the fryer from the kitchen, the particular grease-and-garlic scent that meant Yu-Fei's delivery ha…"
6"He was already turning away, already becoming the bar owner again, the retired spymaster, the man who moved through rooms unnoticed."
7"Rory stood in the doorway for a moment longer, feeling the weight of his hand still ghosting across her palm, feeling the whisky burning in her chest, feeling t…"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags23
uselessAdditionCount1
matches
0"He turned, and his expression was open in a way she'd never seen, stripped of all the careful masks he wore for the world"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags4
fancyCount1
fancyTags
0"He laughed (laugh)"
dialogueSentences59
tagDensity0.068
leniency0.136
rawRatio0.25
effectiveRatio0.034
81.7632%