Run: 2026-10-07-01M4ASS03PCD34HSTVKJART5XD

Run Details

Duration:
3m 47s
Cost:
$0.023073
Provider:
Mistral

Model input

System
You are an expert and award-winning novel writer in the dark Romance genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <character id="4415" name="Lucien Moreau" aliases="Lucien, Luc, the Frenchman" pronouns="he/him" species="Half-Demon" storyRole="Ally"> <eyeColor>heterochromatic — one amber, one black</eyeColor> <hair>slicked-back platinum blond</hair> <height>5'11"</height> <age>32</age> <cane>ivory-handled cane that conceals a thin blade</cane> <dress>tailored charcoal suits</dress> <description>An impeccably dressed fixer and information broker in London's supernatural underworld. He speaks four languages fluently.</description> <backstory>Born in Marseille to a human mother and a demon father from the realm of Avaros.</backstory> </character> <location id="858" name="Eva's Flat" aliases="Eva's place, the flat on Brick Lane" realm="Earth"> <cat>tabby cat named Ptolemy</cat> <security>three deadbolts on the front door</security> <description>A cramped one-bedroom flat above a curry house on Brick Lane, East London. Every surface is covered with books, scrolls, and research notes.</description> </location> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the romance genre. Two people who parted on complicated terms are forced together again when one shows up unannounced at the other's flat. There's history between them — attraction, hurt, and things left unsaid. Write the scene from the moment the door opens. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The deadbolt slid back with a snick that sounded like a gunshot in the narrow hallway. Aurora's fingers trembled on the brass handle, her breath shallow. She counted to three, a leftover tactic from Cardiff, from nights when Evan still held keys that opened her skin as easily as locks. The door swung inward. Lucien Moreau filled the frame, a monolith of charcoal wool and platinum arrogance. His tailored suit hung off one shoulder, the silk lining exposed, dark stains creeping across the expensive fabric like ink blooming in water. One eye blazed amber, predatory and bright; the other swallowed the corridor light, black and bottomless. His cane leaned against his leg, the ivory handle catching the dim bulb's glow, the concealed blade humming with silent threat. "You're bleeding," she said. He smiled, and it was worse than the blood. "Perceptive as ever, Carter." The scent hit her then, copper and ozone, ancient and wrong. The flat above Silas' bar trembled with the bass thumping from downstairs, a relentless thud-thud-thud that vibrated through the floorboards. "That doesn't answer why you're here." "Does it need to?" He pushed past her, invading the space, his shoulder brushing hers. The contact sparked, electric and familiar. "Three years, Aurora. I've waited three years to walk through that door uninvited." She should have slammed it. She knew, with the cold logic of her pre-law training, that she should have slammed it and thrown the chain. Instead, she stepped back, her bare feet sinking into the worn rug. "Get out, Lucien." "Make me." The hallway felt smaller, the air thickening. He removed his jacket, folding it with precise, economical movements, and set it on the coat rack. The motion exposed the holster at his hip, the bruise blooming purple-black across his jaw. "Still living above a pub," he observed. His amber eye tracked her, cataloguing. Black hair, shoulder-length, slightly dishevelled. Blue eyes, bright and furious. The same. Always the same. "Still working for that Chinese restaurant." "Golden Empress." "Of course." He turned, and the heterochromatic gaze locked onto hers. "You cut your hair." "It's been three years." "It's shorter." He stepped closer, invading her space, close enough that she could smell the gunpowder and bergamot on his skin. His fingers hovered near her cheek, not touching, trembling slightly. "You look tired, Rory." "And you look like hell." "Then we're even." The scar on her left wrist throbbed, a phantom ache. She tucked her hand behind her back, hiding the crescent mark. He'd kissed it once, in Marseille, before everything had shattered. "I don't care why you left," she said, her voice steady despite the war in her chest. "I don't care if you were running from something or to something. You don't get to waltz back in here bleeding on my floor." Lucien's laugh was a dry, humorless sound. "Waltz. You think this is a waltz?" "It's an invasion." "It's a necessity." He reached into his pocket, withdrew a silver cigarette case, snapped it open, then closed it again without taking one out. Nervous energy, or something else. "They're hunting me, Aurora. The Avarosi. My father's people. They found me in Prague last night." Aurora's mind raced, calculating angles, exits, the legal implications of harboring a half-demon fugitive. She gestured toward the living room, a cramped space dominated by a sagging sofa and a coffee table buried under case files. The radiator hissed. Somewhere below, Silas was playing something mournful on the piano, the notes drifting up through the floorboards, off-key and sad. "Then go to the authorities." "Human authorities?" He laughed, sharper this time. "They'd burn me at the stake, or worse, sell me to the highest bidder. I need sanctuary. I need..." He stopped, his black eye softening, or maybe it was just the light. "I need you." The words hung between them, heavy with everything unsaid. The attraction that had burned like wildfire three years ago, the hurt that had scarred them both, the night he'd disappeared without a word. "You need me for what?" she asked, hating the catch in her throat. "Information." He stepped closer still, his hand finally finding her wrist, his thumb pressing against the scar, gentle, reverent. "You're the only one who knows the layout of the Warren. The only one who can get me to the safe house without walking into an ambush." "The Warren?" She pulled her hand away, but not forcefully. "Lucien, I don't get involved in your world. I left that behind. I left you behind." "You didn't leave me." His voice dropped to a whisper, rough and broken. "You never left. I see you every night, Rory. In my dreams. In the mirror. You're still there, still looking at me like I hung the moon, and I..." He dragged a hand through his platinum hair, messing it, desperate. "I couldn't stay. I had to choose between them and you. I chose wrong." "You don't get to decide that for me." "I did." His hand rose, fingers brushing her hair, tucking a strand behind her ear. The touch was electric, a shock of recognition. "I chose wrong. I should have fought. I should have stayed and burned with you." The scar on her wrist burned. She remembered that night in Marseille, the rain, the way he'd pressed his lips to her pulse point, vowing forever. Then the morning after, the empty bed, the note that simply said "Forgive me." "I hate you," she whispered. "Good." He smiled, sad and beautiful. "Hate means you still feel something. Indifference would have killed me." He leaned in, his forehead nearly touching hers, his breath warm against her lips. "Kiss me, Aurora. Before they come. Before we die. Let me taste what I lost." She should have pulled away. Every instinct screamed retreat, safety, the life she'd built away from shadows and half-demons. Instead, she rose on her toes, her hands finding his chest, feeling the frantic beat of his heart beneath the wool. Their lips met, soft and desperate, tasting of blood and salt and three years of absence. His hand cradled her jaw, his thumb stroking her cheekbone, gentle, worshipful. "You should have gone to Eva's," she said. "Her flat's compromised. They took Ptolemy last week. Left the collar on her pillow." He broke the kiss, his forehead resting against hers. "A message." The bass downstairs dropped, a sudden silence that made her heart hammer. Lucien's head snapped up, his nostrils flaring. He grabbed his cane, the blade sliding free with a hiss of steel. "They're here," he said. Aurora turned toward the living room window, toward the alley below, but the impact came from above. The ceiling exploded, plaster and lath raining down in a white snowstorm. A clawed hand, elongated and translucent, punched through the plasterboard, followed by a head that twisted at wrong angles, all teeth and too many eyes. Lucien spun, shoving her toward the bedroom, his cane raised, the blade singing as it caught the light. "Behind me!" he shouted. "Now!"
created_at"2026-10-07T09:05:40.502Z" 10/7/2026, 9:05:40 AM
model"mistralai/mistral-large-4-0-20261006"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency708
moderation_latency(null)
generation_time227265
tokens_prompt4383
tokens_completion9833
native_tokens_prompt4222
native_tokens_completion9666
native_tokens_completion_images(null)
native_tokens_reasoning8056
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"
usage0.0230729
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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provider_responses
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is_byokfalse
latency685
model_permaslug"mistralai/mistral-large-4-0-20261006"
provider_name"Mistral"
status200
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cache_discount(null)
upstream_inference_cost0
provider_name"Mistral"
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data_region"global"
workspace_id"97e315e5-d303-487d-83c1-83180e8a13d4"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags21
adverbTagCount0
adverbTags(empty)
dialogueSentences49
tagDensity0.429
leniency0.857
rawRatio0
effectiveRatio0
91.45% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1170
totalAiIsmAdverbs2
found
0
adverb"slightly"
count2
highlights
0"slightly"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
35.90% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1170
totalAiIsms15
found
0
word"trembled"
count2
1
word"silk"
count1
2
word"vibrated"
count1
3
word"electric"
count2
4
word"familiar"
count1
5
word"throbbed"
count1
6
word"shattered"
count1
7
word"raced"
count1
8
word"calculating"
count1
9
word"sanctuary"
count1
10
word"whisper"
count1
11
word"pulse"
count1
12
word"silence"
count1
highlights
0"trembled"
1"silk"
2"vibrated"
3"electric"
4"familiar"
5"throbbed"
6"shattered"
7"raced"
8"calculating"
9"sanctuary"
10"whisper"
11"pulse"
12"silence"
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
narrationSentences73
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences73
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences100
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen40
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1170
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions14
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions14
wordCount812
uniqueNames8
maxNameDensity0.49
worstName"Lucien"
maxWindowNameDensity1
worstWindowName"Lucien"
discoveredNames
Cardiff1
Evan1
Moreau1
Marseille2
Lucien4
Nervous1
Silas1
Aurora3
persons
0"Evan"
1"Moreau"
2"Lucien"
3"Silas"
4"Aurora"
places
0"Cardiff"
1"Marseille"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences55
glossingSentenceCount1
matches
0"sounded like a gunshot in the narrow hallw"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1170
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences100
matches
0"remembered that night"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs47
mean24.89
std18.99
cv0.763
sampleLengths
050
14
273
34
413
531
66
734
837
93
102
1139
1234
132
1415
154
1635
175
183
1931
2041
2114
223
2345
2459
255
2642
2733
2813
2946
3026
3167
328
3338
3440
355
3617
3729
3840
3928
408
4125
4232
434
4454
4518
465
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences73
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs131
matches
0"was playing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount1
flaggedSentences1
totalSentences100
ratio0.01
matches
0"One eye blazed amber, predatory and bright; the other swallowed the corridor light, black and bottomless."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount396
adjectiveStacks0
stackExamples(empty)
adverbCount11
adverbRatio0.027777777777777776
lyAdverbCount3
lyAdverbRatio0.007575757575757576
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences100
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences100
mean11.7
std7.53
cv0.643
sampleLengths
016
110
224
34
413
523
616
721
84
99
104
1111
1220
136
1415
156
1613
175
1820
1912
203
212
227
2317
2415
257
266
275
285
292
303
316
322
3311
344
354
3621
3710
384
395
403
4110
4211
4310
4417
4524
467
477
483
4924
59.67% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats7
diversityRatio0.4
totalSentences100
uniqueOpeners40
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount5
totalSentences66
matches
0"Instead, she stepped back, her"
1"Always the same."
2"Somewhere below, Silas was playing"
3"Then the morning after, the"
4"Instead, she rose on her"
ratio0.076
20.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount33
totalSentences66
matches
0"She counted to three, a"
1"His tailored suit hung off"
2"His cane leaned against his"
3"He smiled, and it was"
4"He pushed past her, invading"
5"She should have slammed it."
6"She knew, with the cold"
7"He removed his jacket, folding"
8"His amber eye tracked her,"
9"He turned, and the heterochromatic"
10"He stepped closer, invading her"
11"His fingers hovered near her"
12"She tucked her hand behind"
13"He'd kissed it once, in"
14"she said, her voice steady"
15"He reached into his pocket,"
16"She gestured toward the living"
17"He laughed, sharper this time"
18"He stopped, his black eye"
19"she asked, hating the catch"
ratio0.5
28.18% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount57
totalSentences66
matches
0"The deadbolt slid back with"
1"Aurora's fingers trembled on the"
2"She counted to three, a"
3"The door swung inward."
4"Lucien Moreau filled the frame,"
5"His tailored suit hung off"
6"His cane leaned against his"
7"He smiled, and it was"
8"The scent hit her then,"
9"The flat above"
10"He pushed past her, invading"
11"The contact sparked, electric and"
12"She should have slammed it."
13"She knew, with the cold"
14"The hallway felt smaller, the"
15"He removed his jacket, folding"
16"The motion exposed the holster"
17"His amber eye tracked her,"
18"He turned, and the heterochromatic"
19"He stepped closer, invading her"
ratio0.864
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences66
matches(empty)
ratio0
75.89% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences32
technicalSentenceCount3
matches
0"Instead, she rose on her toes, her hands finding his chest, feeling the frantic beat of his heart beneath the wool."
1"The bass downstairs dropped, a sudden silence that made her heart hammer."
2"A clawed hand, elongated and translucent, punched through the plasterboard, followed by a head that twisted at wrong angles, all teeth and too many eyes."
77.38% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags21
uselessAdditionCount2
matches
0"she said, her voice steady despite the war in her chest"
1"He broke, his forehead resting against hers"
68.37% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags9
fancyCount4
fancyTags
0"he observed (observe)"
1"He laughed (laugh)"
2"she whispered (whisper)"
3"he shouted (shout)"
dialogueSentences49
tagDensity0.184
leniency0.367
rawRatio0.444
effectiveRatio0.163
85.2280%