Run: 2026-10-06-01M48W3S77E3GKV7YMPW0D7YMH

Run Details

Duration:
2m 52s
Cost:
$0.005403
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 registered the impact. It shattered against the floor of the Golden Empress kitchen, soy sauce and shattered porcelain spreading across the linoleum like a dark flower blooming in fast motion. Yu-Fei appeared in the doorway, wiping his hands on a stained apron, and Rory raised both palms in surrender. "Third one this week." "I know." She didn't look at him. "I'll pay for it." "You will." He studied her with the flat assessment of a man who had watched her grow from a nervous university dropout into something harder, something that moved through London with a purpose she rarely explained. "You always do." She crouched to gather the pieces, and the crescent scar on her left wrist caught the fluorescent light. A souvenir from childhood, from before Cardiff, from before everything. She tucked her black hair behind her ear and felt the familiar weight of it, shoulder-length and straight, the same cut she'd worn since she was nineteen. The delivery scooter waited outside, three bags of dumplings growing cold in their thermal cases. She should go. She should always go. But the rain had turned to sleet, and her fingers were numb, and something in the way Yu-Fei watched her made her think of Eva, of the last time she'd seen someone look at her like she was still becoming something. "Silas asked about you," Yu-Fei said. "At the bar. Last Tuesday." Rory's hands stilled on a shard of porcelain. "What did you tell him?" "That you were alive." He smiled, small and private. "He didn't seem surprised." She stood, brushed ceramic dust from her jeans, and felt the old pull of it, the flat above the bar, the green neon sign humming against the Soho dark. The Raven's Nest. She hadn't been back in fourteen months. Not since the Prague operation, not since Silas had limped into her hospital room with flowers that smelled of funeral lilies and said, "You're done, Rory. Whatever you think you're doing, you're done." She'd been twenty-three. She'd believed him. The sleet stung her face as she pushed through the door, the thermal bags swinging against her thigh. The scooter's engine caught on the third kick, and she rode north through streets that blurred into grey, past the Thames, past the memories that clung to every corner like damp wallpaper. She knew this route. She knew every route. The city was a map she'd memorised in self-defence, each street a boundary, each boundary a choice she'd made to survive. The Raven's Nest appeared at the end of a narrow street, its green neon sign flickering against the wet dark. Rory killed the engine and sat for a moment, watching her breath cloud in the cold air. The bar had been Silas's for six years. She'd helped him choose the name, sitting on milk crates in the empty shell of the place, drinking cheap wine from a paper cup. *Ravens are clever*, he'd said. *They remember faces. They hold grudges. They never forget where the bodies are buried.* She'd laughed then. She'd been twenty-two, and the world had still felt like a place where you could laugh at graves. The door opened before she touched it. Silas stood in the doorway, his grey-streaked auburn hair dark with rain, his hazel eyes catching the neon light. He was older. The lines around his mouth had deepened, and his limp was more pronounced, his left leg swinging slightly as he shifted his weight. But he wore the same silver signet ring on his right hand, and he smiled with the same quiet, assessing warmth that had once made her feel seen in a world that preferred to look away. "Rory." He stepped aside. "You're letting the cold in." "I didn't know you were here." "I own the building." He closed the door behind her, and the warmth hit her like a physical blow, the smell of whisky and old wood and the particular mustiness of a place that had never fully dried since 1987. "Sit. I'll pour you something." "I don't drink." "You don't drink *with me*." He moved behind the bar with the fluid economy of long practice, his knee protesting audibly as he reached for a bottle. "Whisky, then. You can watch me drink it." She sat on the same stool she'd occupied a hundred times before, the leather worn smooth beneath her thighs. The walls were unchanged, covered with old maps and black-and-white photographs, the faces in them fading into anonymity. A woman in a 1950s dress. A man with a cigarette and a faraway look. The Prague operation, perhaps. Or Budapest. Or any of the dozen cities where Silas had left pieces of himself behind. "You've changed your hair," he said, pouring two fingers of amber liquid into a heavy glass. "It's the same cut." "It's shorter." He slid the glass across the bar. She didn't touch it. "You've lost weight." "I deliver food on a scooter. I walk everywhere else." "Cardiff was different." He settled onto the stool opposite, his long frame folding into the small space, and for a moment they were silent except for the hum of the neon sign and the distant sound of traffic. "You used to eat. Remember? Your mother's Welsh cakes. You'd bring them to the flat, and Eva would steal them, and you'd pretend to be angry." "I remember." "You don't sound like you remember." He drank, watching her over the rim of his glass. "You sound like someone who's been running for a long time." Rory picked up her glass. The whisky burned her palm through the thick glass, and she set it down without tasting. "What do you want, Silas?" The question hung between them, sharp as the smell of antiseptic in a hospital corridor. She'd asked it before, in that room in St Thomas', when he'd brought her flowers and told her to stop. She'd asked it a dozen times since, in phone calls that went unanswered, in letters she never sent, in the silence that had grown between them like a wall. "I want to know if you're still alive," he said. "Not your body. I can see that. I want to know if *you're* still in there." She laughed, and the sound surprised her, brittle and unfamiliar. "That's rich, coming from you. You're the one who taught me how to disappear." "I taught you how to survive." He set his glass down with a click that echoed in the sudden quiet. "There's a difference. I thought you knew that." "I thought a lot of things." She finally drank, the whisky scalding her throat, and felt it settle in her stomach like a stone. "I thought you'd come to Prague. I thought you'd pull me out. I thought—" She stopped. The glass trembled in her hand. "I thought you cared." Silas was very still. His hazel eyes, she noticed, were the colour of old photographs, of things left too long in the sun. "I did care," he said. "I care. The difference is, I also knew what you were walking into. I knew what it would cost you." He reached across the bar, his signet ring catching the light, and touched her wrist, just above the crescent scar. His fingers were warm, calloused, the fingers of a man who had done things with his hands that she didn't want to imagine. "You were my best student, Rory. You still are. But I couldn't save you from yourself. I could only try to save you from the consequences." "And now?" "Now I want to know if you're still my student." He withdrew his hand, and she felt the absence of it like a bruise. "Or if you've become something else entirely." The question settled over her like the sleet outside, cold and inescapable. She thought of the names she'd used, the faces she'd worn, the life she'd built from stolen identities and borrowed time. Laila in Berlin. Malphora in Marseille. Aurora, always Aurora, the girl from Cardiff who had wanted to be a barrister and had ended up something else, something that moved through the world like a ghost, leaving no trace, taking no prisoners. "I don't know who I am anymore," she said, and the words tasted of ash. Silas poured himself another drink, his movements precise, controlled. "Then perhaps it's time you found out." He pushed the bottle across the bar, and for a moment she thought he meant it literally, that he was offering her the means to obliterate herself, to become truly nothing. But he was watching her with an expression she couldn't read, something between hope and grief. "The back room. There's someone there who wants to meet you." Rory's heart stuttered. She knew that room. She'd sat in it a dozen times, receiving assignments, delivering intelligence, becoming someone else for the duration of a mission. She'd thought she'd left it behind, along with everything else. "Who?" Silas smiled, and it transformed his face, made him younger, made him the man who had once sat with her on milk crates and talked about ravens and memory and the weight of the dead. "Someone who knew you before. Someone who's been asking about you for a long time." He stood, his knee popping audibly, and moved toward the bookshelf at the back of the bar. Rory watched him go, the whisky burning in her stomach, the sleet tapping against the windows like fingers demanding entry. She thought of running. She'd run from so many things, from Cardiff, from Evan, from the life she'd been supposed to have. She could run now, back to her scooter, back to the flat above the bar, back to the careful anonymity that had kept her alive. But she stayed. The bookshelf swung open with a soft pneumatic hiss, revealing the narrow staircase that led down to the hidden room. Silas paused at the top of the steps, looking back at her with an expression she couldn't read. "She's been waiting, Rory. For years." And then the door at the top of the stairs opened, and a woman stepped into the light, and Rory felt the ground shift beneath her feet, felt fourteen months of careful distance collapse into nothing, felt the weight of time and unspoken regret pressing down on her like the dark itself. Eva stood there, her face thinner than Rory remembered, her eyes bright with something that might have been fever or might have been joy. She wore a black coat that swallowed her frame, and her hair, once the same straight black as Rory's, was now streaked with silver at the temples, pulled back in a way that made her look older, harder, someone who had survived things Rory couldn't imagine. "Hello, Rory," Eva said. "I wondered when you'd finally come home."
created_at"2026-10-06T15:09:58.131Z" 10/6/2026, 3:09:58 PM
model"mistralai/mistral-large-4-0-20261006"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency660
moderation_latency(null)
generation_time55610
tokens_prompt4445
tokens_completion2595
native_tokens_prompt4283
native_tokens_completion2387
native_tokens_completion_images(null)
native_tokens_reasoning0
native_tokens_cached4096
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"
usage0.00540271
router(null)
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provider_responses
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is_byokfalse
latency660
model_permaslug"mistralai/mistral-large-4-0-20261006"
provider_name"Mistral"
status200
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cache_discount0.00499712
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags23
adverbTagCount1
adverbTags
0"He stepped aside [aside]"
dialogueSentences52
tagDensity0.442
leniency0.885
rawRatio0.043
effectiveRatio0.038
91.72% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1812
totalAiIsmAdverbs3
found
0
adverb"slightly"
count1
1
adverb"very"
count1
2
adverb"truly"
count1
highlights
0"slightly"
1"very"
2"truly"
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)
50.33% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1812
totalAiIsms18
found
0
word"shattered"
count2
1
word"porcelain"
count2
2
word"familiar"
count1
3
word"weight"
count5
4
word"warmth"
count2
5
word"silence"
count1
6
word"echoed"
count1
7
word"stomach"
count2
8
word"trembled"
count1
9
word"unspoken"
count1
highlights
0"shattered"
1"porcelain"
2"familiar"
3"weight"
4"warmth"
5"silence"
6"echoed"
7"stomach"
8"trembled"
9"unspoken"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences99
matches(empty)
70.71% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount5
hedgeCount0
narrationSentences99
filterMatches
0"think look"
1"feel"
2"look"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences129
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen52
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans4
markdownWords20
totalWords1812
ratio0.011
matches
0"Ravens are clever"
1"They remember faces. They hold grudges. They never forget where the bodies are buried."
2"with me"
3"you're"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions16
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions46
wordCount1441
uniqueNames19
maxNameDensity0.76
worstName"Rory"
maxWindowNameDensity2
worstWindowName"Rory"
discoveredNames
Rory11
Golden1
Empress1
London1
Cardiff3
Yu-Fei3
Eva3
Soho1
Raven2
Nest2
Prague2
Silas8
Thames1
Budapest1
St1
Berlin1
Marseille1
Aurora2
Evan1
persons
0"Rory"
1"Yu-Fei"
2"Eva"
3"Raven"
4"Nest"
5"Silas"
6"Evan"
places
0"London"
1"Cardiff"
2"Soho"
3"Prague"
4"Thames"
5"Budapest"
6"St"
7"Berlin"
8"Marseille"
globalScore1
windowScore1
76.47% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences68
glossingSentenceCount2
matches
0"felt like a place where you could laugh"
1"something between hope and grief"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1812
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences129
matches
0"knew that room"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs51
mean35.53
std28.99
cv0.816
sampleLengths
057
14
211
339
455
522
641
711
813
913
1072
116
1279
1388
1421
1588
169
176
1845
193
2035
2172
2216
234
2416
2510
2664
272
2827
2926
3064
3126
3224
3328
3450
35117
362
3731
3874
3915
4074
4137
421
4350
4484
453
4638
476
4852
4970
94.63% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences99
matches
0"are buried"
1"were unchanged"
2"been supposed"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs250
matches
0"was still becoming"
1"was offering"
2"was watching"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences129
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount986
adjectiveStacks0
stackExamples(empty)
adverbCount25
adverbRatio0.02535496957403651
lyAdverbCount6
lyAdverbRatio0.006085192697768763
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences129
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences129
mean14.05
std11.22
cv0.799
sampleLengths
011
127
219
34
47
54
636
73
818
910
1027
1115
123
134
1441
156
165
178
185
199
204
2129
223
237
2433
253
263
2718
2832
294
304
3121
3220
3317
348
3524
365
373
383
398
403
4118
427
4319
443
4523
4636
474
485
496
32.95% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats22
diversityRatio0.26356589147286824
totalSentences129
uniqueOpeners34
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences93
matches(empty)
ratio0
4.95% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount50
totalSentences93
matches
0"It shattered against the floor"
1"She didn't look at him"
2"He studied her with the"
3"She crouched to gather the"
4"She tucked her black hair"
5"She should go."
6"She should always go."
7"He smiled, small and private"
8"She stood, brushed ceramic dust"
9"She hadn't been back in"
10"She'd been twenty-three."
11"She'd believed him."
12"She knew this route."
13"She knew every route."
14"She'd helped him choose the"
15"*They remember faces."
16"They hold grudges."
17"They never forget where the"
18"She'd laughed then."
19"She'd been twenty-two, and the"
ratio0.538
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount86
totalSentences93
matches
0"The glass slipped from Rory's"
1"It shattered against the floor"
2"Yu-Fei appeared in the doorway,"
3"She didn't look at him"
4"He studied her with the"
5"She crouched to gather the"
6"A souvenir from childhood, from"
7"She tucked her black hair"
8"The delivery scooter waited outside,"
9"She should go."
10"She should always go."
11"Rory's hands stilled on a"
12"He smiled, small and private"
13"She stood, brushed ceramic dust"
14"The Raven's Nest."
15"She hadn't been back in"
16"She'd been twenty-three."
17"She'd believed him."
18"The sleet stung her face"
19"The scooter's engine caught on"
ratio0.925
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences93
matches(empty)
ratio0
29.22% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences44
technicalSentenceCount7
matches
0"The scooter's engine caught on the third kick, and she rode north through streets that blurred into grey, past the Thames, past the memories that clung to every…"
1"But he wore the same silver signet ring on his right hand, and he smiled with the same quiet, assessing warmth that had once made her feel seen in a world that …"
2"Aurora, always Aurora, the girl from Cardiff who had wanted to be a barrister and had ended up something else, something that moved through the world like a gho…"
3"She could run now, back to her scooter, back to the flat above the bar, back to the careful anonymity that had kept her alive."
4"The bookshelf swung open with a soft pneumatic hiss, revealing the narrow staircase that led down to the hidden room."
5"Eva stood there, her face thinner than Rory remembered, her eyes bright with something that might have been fever or might have been joy."
6"She wore a black coat that swallowed her frame, and her hair, once the same straight black as Rory's, was now streaked with silver at the temples, pulled back i…"
81.52% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags23
uselessAdditionCount2
matches
0"He moved, his knee protesting audibly as he reached for a bottle"
1"she said, and the words tasted of ash"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags7
fancyCount1
fancyTags
0"She'd (would)"
dialogueSentences52
tagDensity0.135
leniency0.269
rawRatio0.143
effectiveRatio0.038
77.7499%