Run: 2026-10-06-01M48W14C38KW3V7C9YZBE3QYN

Run Details

Duration:
2m 7s
Cost:
$0.007556
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. She watched it shatter against the sticky floor of the Raven's Nest, amber liquid spreading like a wound across the scuffed wood, and did not bend to retrieve the pieces. "You're still clumsy, then." Rory looked up. The man leaning against the bar had not moved from his position in the corner, nursing a whisky she could not see, but his voice carried the same weight it had when she was nineteen and terrified and he had been the only person who made her feel steady. Silas Blackwood pushed off from the mahogany and crossed the room with that familiar limp, the one she had memorised in Cardiff, in Prague, in a hundred cities she would never visit again. He was older. The auburn in his hair had surrendered to grey, threaded through like wire. His beard, once close-cropped, now framed a face that had grown harder around the edges, the way stone hardens under river water. "Si." She did not stand. "You said you were in Prague." "I was." He stopped at her table, close enough that she could smell the bergamot and tobacco that had always clung to him. "I am." The silence stretched between them, thick and familiar. Rory reached for her bag, the one with the Golden Empress logo faded across the canvas, and found her cigarettes. She had quit three years ago. She had started again six months ago. "Rory." Silas's hand closed over hers, warm and dry, his signet ring pressing into her wrist near the crescent scar. "Don't." She let him take the cigarette from her fingers. He crushed it in the ashtray without looking at it, methodical, final. "You look—" She stopped. The words she wanted were *the same*. The words she needed were *different*. "You look well." "Do I?" He sat across from her, uninvited, and poured himself another whisky from the bottle she had not noticed on the table. "I look like a man who has spent thirty years learning that well is a relative term." Rory laughed, surprised by the sound. It came out brittle. "That's very philosophical for you, Si." "It is very late for me." He drank. "Eva told me you were in London." "She tells you everything." "She tells me what she thinks I need to know." He set the glass down with a precision that spoke of control. "She told me you were delivering for a Chinese restaurant. She told me you lived above a bar." "She told you I lived above *your* bar?" "She did not specify." A pause. "I was surprised." "So was I." Rory finally looked at him properly, really looked, and felt the years settle between them like dust. The boy she had known, the one who had taught her to pick locks and read a room and never trust a man who smiled with his mouth closed, was still there in the set of his shoulders, in the way his hazel eyes assessed the room even now, cataloguing exits and threats. But something else had grown over him, a stillness she did not recognise, the patience of a man who had learned to wait for things to come to him. "You never wrote," she said. "I wrote." He reached into his jacket, withdrew a slim leather folio, and placed it on the table between them. "Cardiff. Prague. Three letters in Lisbon that I never sent because I did not know your address and would not ask Eva for it." He opened the folio. The pages were filled with her name, in his careful hand, crossed out and rewritten, rewritten and crossed out. "I kept them. I keep everything." Rory touched the paper. It was real, the weight of it, the evidence of a life she had tried to leave behind. "Why didn't you send them?" "Because you were running, Rory. And I was not going to be the thing you ran toward." The truth of it struck her like a physical blow. She thought of Evan, of the years she had spent erasing herself, of the careful construction of a new life in London with Eva's help and Silas's absence. She had told herself she had outgrown him. She had told herself he had been a phase, a reckless interlude in a life that had not yet begun. "You were my best friend," she said, and the words tasted of something she could not name. Silas was quiet for a long moment. When he spoke, his voice had changed, lost some of its edge, gained something else she could not identify. "I was more than that. You know I was." "I know." She looked at her hands, at the scar on her wrist, at the life she had built from fragments. "I was afraid, Si. I'm still afraid. I look at you and I see everything I left behind, and I don't know if I left it because I had to or because I wanted to." "And which is it?" Rory met his eyes. "I don't know." He reached across the table, took her hand again, and this time she did not pull away. His thumb traced the scar on her wrist, the one she had never explained to anyone, the one from the summer she was twelve and Silas was fifteen and they had been playing in the old quarry and she had fallen and he had carried her home and her mother had cried and his mother had said nothing at all. "You changed your name," he said. It was not a question. "Laila. For a while. Then just Rory again." She turned her hand, let his fingers lace through hers. "You knew that. Eva told you." "I knew." He released her, withdrew a photograph from his folio, placed it on the table. Rory did not need to look at it to know what she would see. Herself, nineteen years old, standing in the doorway of a flat in Cardiff, her face turned toward the camera with an expression she did not recognise, something between joy and terror. "I have this. I have others. I have a life you never saw, Rory. A life you chose not to see." The accusation hung in the air, fair and terrible. Rory thought of the years, the slow unravelling of everything she had been, the careful performance of a woman who had learned that survival meant becoming someone else. She thought of the nights she had lain awake above this very bar, listening to Silas move below, wondering if he was awake too, wondering if he ever thought of her, wondering if she had imagined the whole thing, the connection, the weight of it. "I was twenty-two," she said. "I was so young. I didn't know how to be brave, Si. I didn't know how to stay." "And now?" "Now I deliver noodles for a living and I live above a bar owned by a retired spy and I don't know who I am anymore." She laughed, and it sounded like breaking glass. "I thought if I just kept moving, I would outrun it. The fear. The wanting things I couldn't have. The wanting *you* in ways I couldn't name." Silas was very still. When he spoke, his voice was barely audible. "I waited. In Prague, in Lisbon, in a dozen cities. I waited for you to come back. I waited for you to write. I waited for—" He stopped. Started again. "I waited until waiting became a way of life. Until I forgot what I was waiting for." Rory felt the tears before she could stop them, hot and humiliating. She did not wipe them away. "I'm sorry. I'm so sorry, Si. I was a coward. I am a coward." "You are a woman who survived." He stood, moved around the table, sat beside her in the way he used to, shoulder to shoulder, the way they had watched films and argued about politics and planned futures that never arrived. "You are a woman who built a life from nothing. I am proud of you. I have always been proud of you." "I don't know how to be proud of myself." "Then learn." He took her face in his hands, his thumbs brushing her tears, and she leaned into the touch, the familiar weight of him, the smell of him, the absolute rightness of this moment that she had denied herself for too long. "I am here, Rory. I have always been here. You only need to ask." She kissed him then, or he kissed her, and she did not pull away. The taste of whisky and bergamot and thirty years of wanting. His hands moved to her waist, pulling her closer, and she felt the solid reality of him, the man he had become, the man he had always been, and she knew with a certainty that frightened her that nothing would ever be the same. The door to the bar opened. A man entered, shaking rain from his coat, and the spell broke. Silas released her, stepped back, and Rory felt the loss of him like a physical ache. "Si," she whispered. "Not here." He was already smoothing his jacket, already becoming the bar owner, the retired spymaster, the man who had learned to hide everything. "Tomorrow. The flat above. Seven o'clock." "Silas—" "Rory." He did not look at her. "I have waited thirty years. I can wait one more day." The man at the door was looking at them, curious, and Silas turned to him with a smile that did not reach his eyes, the smile of a man who had spent a lifetime being someone else. "Last orders," Silas said. "The lady and I are closing up." Rory stood, her legs unsteady, and followed him toward the back of the bar, toward the bookshelf that concealed the room where secrets were kept. She did not look back at the table, at the photograph, at the folio with her name written and crossed out and written again. She had spent years running. Tomorrow, she would learn to stay. But not yet. Not in this moment, with the rain against the windows and the weight of everything unsaid pressing down on her, and Silas moving ahead of her with his familiar limp, his hand raised, waiting to guide her through the bookshelf into the dark.
created_at"2026-10-06T15:07:58.401Z" 10/6/2026, 3:07:58 PM
model"mistralai/mistral-large-4-0-20261006"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency894
moderation_latency(null)
generation_time44031
tokens_prompt4445
tokens_completion2355
native_tokens_prompt4283
native_tokens_completion2222
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"
usage0.00755642
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.21.0; linux; x64))"
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api_type"completions"
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upstream_id"beecebe720d04b3fa24c6764e5ff0647"
provider_responses
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endpoint_id"540e63db-cc7c-4556-bb67-d449579bcf1a"
id"beecebe720d04b3fa24c6764e5ff0647"
is_byokfalse
latency788
model_permaslug"mistralai/mistral-large-4-0-20261006"
provider_name"Mistral"
status200
total_cost0.00755642
cache_discount(null)
upstream_inference_cost0
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data_region"global"
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags24
adverbTagCount0
adverbTags(empty)
dialogueSentences59
tagDensity0.407
leniency0.814
rawRatio0
effectiveRatio0
85.62% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1738
totalAiIsmAdverbs5
found
0
adverb"very"
count4
1
adverb"really"
count1
highlights
0"very"
1"really"
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)
65.48% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1738
totalAiIsms12
found
0
word"weight"
count5
1
word"familiar"
count4
2
word"silence"
count1
3
word"methodical"
count1
4
word"traced"
count1
highlights
0"weight"
1"familiar"
2"silence"
3"methodical"
4"traced"
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
narrationSentences82
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount1
narrationSentences82
filterMatches
0"feel"
hedgeMatches
0"tried to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences115
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen60
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans4
markdownWords5
totalWords1738
ratio0.003
matches
0"the same"
1"different"
2"your"
3"you"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions19
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions35
wordCount1255
uniqueNames13
maxNameDensity0.96
worstName"Rory"
maxWindowNameDensity2
worstWindowName"Silas"
discoveredNames
Rory12
Raven1
Nest1
Blackwood1
Cardiff2
Prague1
Golden1
Empress1
Evan1
London1
Eva1
Silas11
Started1
persons
0"Rory"
1"Raven"
2"Blackwood"
3"Evan"
4"Eva"
5"Silas"
places
0"Cardiff"
1"Prague"
2"London"
globalScore1
windowScore1
68.03% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences61
glossingSentenceCount2
matches
0"something between joy and terror"
1"sounded like breaking glass"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1738
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences115
matches
0"learned that survival"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs52
mean33.42
std25.58
cv0.765
sampleLengths
041
14
252
371
411
525
641
721
821
920
1040
1116
1215
134
1440
158
169
17102
185
1973
2027
2117
2266
2317
2435
2556
264
277
2877
2911
3024
3182
3282
3323
342
3561
3659
3732
3862
399
4057
4169
4234
433
4430
451
4618
4737
4811
4949
96.71% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences82
matches
0"were filled"
1"were kept"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs224
matches
0"was already smoothing"
1"was looking"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences115
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1256
adjectiveStacks0
stackExamples(empty)
adverbCount29
adverbRatio0.02308917197452229
lyAdverbCount5
lyAdverbRatio0.003980891719745223
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences115
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences115
mean15.11
std12.5
cv0.827
sampleLengths
011
130
24
33
449
533
63
713
822
95
106
1123
122
138
1420
156
167
1720
181
199
2012
214
227
236
243
2523
2617
276
284
296
308
317
324
3322
3418
358
366
373
3820
3953
4029
415
4220
4328
4419
456
464
4718
485
4917
37.83% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats14
diversityRatio0.2608695652173913
totalSentences115
uniqueOpeners30
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences72
matches(empty)
ratio0
14.44% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount37
totalSentences72
matches
0"She watched it shatter against"
1"He was older."
2"His beard, once close-cropped, now"
3"She did not stand"
4"He stopped at her table,"
5"She had quit three years"
6"She had started again six"
7"She let him take the"
8"He crushed it in the"
9"He sat across from her,"
10"It came out brittle."
11"He set the glass down"
12"He reached into his jacket,"
13"He opened the folio"
14"It was real, the weight"
15"She thought of Evan, of"
16"She had told herself she"
17"She had told herself he"
18"she said, and the words"
19"She looked at her hands,"
ratio0.514
1.67% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount66
totalSentences72
matches
0"The glass slipped from Rory's"
1"She watched it shatter against"
2"Rory looked up."
3"The man leaning against the"
4"Silas Blackwood pushed off from"
5"He was older."
6"The auburn in his hair"
7"His beard, once close-cropped, now"
8"She did not stand"
9"He stopped at her table,"
10"The silence stretched between them,"
11"Rory reached for her bag,"
12"She had quit three years"
13"She had started again six"
14"Silas's hand closed over hers,"
15"She let him take the"
16"He crushed it in the"
17"The words she wanted were"
18"The words she needed were"
19"He sat across from her,"
ratio0.917
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences72
matches(empty)
ratio0
8.93% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences32
technicalSentenceCount6
matches
0"The man leaning against the bar had not moved from his position in the corner, nursing a whisky she could not see, but his voice carried the same weight it had …"
1"His beard, once close-cropped, now framed a face that had grown harder around the edges, the way stone hardens under river water."
2"The boy she had known, the one who had taught her to pick locks and read a room and never trust a man who smiled with his mouth closed, was still there in the s…"
3"But something else had grown over him, a stillness she did not recognise, the patience of a man who had learned to wait for things to come to him."
4"Rory thought of the years, the slow unravelling of everything she had been, the careful performance of a woman who had learned that survival meant becoming some…"
5"His hands moved to her waist, pulling her closer, and she felt the solid reality of him, the man he had become, the man he had always been, and she knew with a …"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags24
uselessAdditionCount1
matches
0"she said, and the words tasted of something she could not name"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags7
fancyCount2
fancyTags
0"She laughed (laugh)"
1"she whispered (whisper)"
dialogueSentences59
tagDensity0.119
leniency0.237
rawRatio0.286
effectiveRatio0.068
79.2899%