Run: 2026-10-07-01M4ASVRMGPFCH6C3MDQQQNK15

Run Details

Duration:
2m 59s
Cost:
$0.022705
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 third deadbolt slid home with a sound like a bone snapping. Aurora froze, fingers tightening around the chipped ceramic mug of tea gone cold on the kitchen table. Through the peephole, she saw nothing but the dim corridor and the sway of a charcoal coat hem. The knock came again. Three sharp raps, then silence, heavy and deliberate. She didn't move. The flat smelled of old paper and cardamom, the scent from the curry house downstairs seeping through the floorboards. Every surface teetered with leather-bound tomes and yellowed scrolls, Eva's research into the occult spilling from the shelves like fungal growth. Ptolemy, the tabby, hissed from atop a stack of grimoires on the sofa. The handle turned. The door swung inward before she could reach it, and the draft carried the scent of bergamot, expensive cologne, and something electric, like ozone before a storm. Lucien Moreau filled the doorway, all sharp angles and tailored charcoal wool, his ivory-handled cane hooked over one elbow. His slicked-back platinum hair caught the lamplight, stark against the gloom, while his heterochromatic eyes found hers instantly, the amber one burning bright, the black one swallowing the light whole. "Rory," he said. Not a question. She set the mug down. The ceramic cracked against the Formica. "I didn't invite you." "Correct." He stepped inside and closed the door behind him, the three deadbolts clicking shut one by one with his free hand, methodical and final. "You didn't. Yet here I am." The space was cramped, intimate, suffocating. Aurora stood her ground near the kitchen counter, her straight black hair falling around her shoulders, the crescent scar on her left wrist catching the light as she crossed her arms. "Eva's out. The shops on Brick Lane. She'll be back at six." "Then we have time." "For what?" Lucien moved. He closed the distance between them in three strides, close enough that she could see the faint silver threading his temple, the scar bisecting his left eyebrow. He smelled of iron and wine, of secrets kept too long. His cane tapped once against the floorboards, a staccato rhythm that matched the hammering of her pulse. "You left," he said. His voice was low, cultured, carrying the clipped precision of Marseille. "In Marseille. You packed your bag while I slept. No note, no explanation. Just gone." "I told you I couldn't—" "You told me you were scared." His amber eye narrowed, predatory. "You told me Avaros was hunting you. You told me you loved me." He reached out, thumb brushing her jawline, her skin heating under his touch, the heat spreading like wildfire. "Then you vanished. Six months, Rory. Six months of silence." Aurora turned her face away, but his fingers followed, gentle, insistent, possessive. "It wasn't safe, Luc. Not for you. Not with what I found out about my father. About Brendan Carter." "Your father is a barrister." "Was." Lucien's voice dropped, rough with something she couldn't name, something ancient and dangerous. "He made a deal with them, Rory. With the Avarosi. Twenty years ago. He sold my mother's name for a favour, a favour that came due last spring. And now they want the debt paid in blood. In yours." The room tilted. Aurora's breath hitched, her cool-headed logic shattering against the reality of his words. She stared at him, at the man who had taught her to shoot in a Marseille safehouse, who had kissed her bruises when Evan left her with them, who had disappeared from her life without a word, leaving her to wonder if she'd imagined the tenderness. "Why are you here?" she whispered. "Because I found out where you went." He stepped closer, his thigh pressing against hers, the heat of him seeping through her jeans, through her skin. "Because I spent three months tearing London apart looking for you, questioning every fixer from Camden to Chelsea. Because," he paused, his black eye darkening, ancient and bottomless, "I cannot breathe when you are not in the room." The admission hung between them, heavy and lethal. Aurora's mind raced, Pre-Law instincts screaming about evidence and motive and the logical impossibility of their situation. But her body remembered. Remembered the weight of his hand on her hip, the way his mouth tasted of red wine and dark promises, the way he had looked at her that last night in Marseille like she was the only thing anchoring him to the earth, to humanity. "You hurt me," she said, the words barely audible, raw. "I know." "And you left. You left me to wonder if I'd imagined it all." "I know." "So why—" Her voice cracked. She pushed against his chest, but he didn't budge, solid as granite, immovable. "Why come back now? Why pick the locks on Eva's door? What do you want, Lucien? An apology? Forgiveness? You can't just waltz back into my life after six months of silence." He caught her wrist, turning her palm up to reveal the crescent scar there, the one from childhood, the one she'd shown him once, drunk on wine and honesty, vulnerable. His thumb traced it, reverent, aching. "I want to finish what we started," he said. "Before Marseille. Before I knew you were in danger. Before I was a coward." "You're not a coward." "I am." His heterochromatic gaze locked onto hers, fierce, unblinking. "I let you go. I let fear win. I told myself I was protecting you, but I was only protecting myself from the pain of losing you. I'm here to fix that. To stand between you and Avaros. To pay the debt with my blood, not yours." The front door of the flat rattled. Eva's key scraped in the lock, loud in the sudden silence. Lucien's head snapped toward the door. Aurora's blood turned to ice. He didn't release her wrist, didn't step back. "Who is that?" he asked, low, dangerous. "Eva," Aurora said, her voice steady despite the hammering in her chest, the adrenaline spiking through her veins. "She's my friend. My oldest friend." "She has a key?" "She lives here." Lucien's grip tightened, his knuckles white. The amber eye blazed, feral. "Then we have minutes, not hours. She cannot see us like this. She cannot know." "Why not?" "Because if she knows, she becomes a target. Because Avaros watches everyone you love, Rory. Everyone." He pulled her closer, his forehead resting against hers, his breath warm and ragged against her lips, her eyelids. "I'm not leaving again. Not this time. Whatever happens when that door opens, I'm staying. I'm fighting. I'm yours." The lock clicked. The door swung inward. Eva stood there, takeaway bags in one hand, her eyes widening at the sight of them, at the intimacy of the moment, at the danger crackling in the air like static electricity, at the half-demon in the tailored suit holding Aurora's wrist like a brand. "Oh," Eva said, her voice dropping to a whisper. "Bloody hell. Rory, who is this?" And then Ptolemy yowled from under the sofa, a sound like tearing silk, and the spell broke, and the world rushed back in, sharp and real and terrifying, and Aurora realised with a sickening lurch that the past had finally caught up with them, and there was no running anymore.
created_at"2026-10-07T09:07:11.133Z" 10/7/2026, 9:07:11 AM
model"mistralai/mistral-large-4-0-20261006"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1066
moderation_latency(null)
generation_time178954
tokens_prompt4383
tokens_completion9702
native_tokens_prompt4222
native_tokens_completion9490
native_tokens_completion_images(null)
native_tokens_reasoning7903
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"
usage0.02270506
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.21.0; linux; x64))"
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request_id"req-1791364031-4oamuUJX2qXIqeHHxPo8"
session_id(null)
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api_type"completions"
id"gen-1791364031-OQIITwyFtU9F6r8QaTm3"
upstream_id"61a7afa0f3d347ac85b047acf2a7ff1e"
provider_responses
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endpoint_id"19b3b5d7-23f6-4b63-8109-64a6cc37d996"
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is_byokfalse
latency1014
model_permaslug"mistralai/mistral-large-4-0-20261006"
provider_name"Mistral"
status200
total_cost0.02270506
cache_discount(null)
upstream_inference_cost0
provider_name"Mistral"
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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
totalTags17
adverbTagCount0
adverbTags(empty)
dialogueSentences42
tagDensity0.405
leniency0.81
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1211
totalAiIsmAdverbs0
found(empty)
highlights(empty)
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)
29.81% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1211
totalAiIsms17
found
0
word"silence"
count4
1
word"electric"
count1
2
word"stark"
count1
3
word"gloom"
count1
4
word"methodical"
count1
5
word"eyebrow"
count1
6
word"pulse"
count1
7
word"tenderness"
count1
8
word"raced"
count1
9
word"weight"
count1
10
word"traced"
count1
11
word"whisper"
count1
12
word"silk"
count1
13
word"lurch"
count1
highlights
0"silence"
1"electric"
2"stark"
3"gloom"
4"methodical"
5"eyebrow"
6"pulse"
7"tenderness"
8"raced"
9"weight"
10"traced"
11"whisper"
12"silk"
13"lurch"
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
narrationSentences62
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences62
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences87
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen50
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1211
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions16
unquotedAttributions0
matches(empty)
95.26% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions27
wordCount822
uniqueNames9
maxNameDensity1.09
worstName"Aurora"
maxWindowNameDensity2
worstWindowName"Aurora"
discoveredNames
Eva4
Moreau1
Formica1
Marseille3
Aurora9
Evan1
Pre-Law1
Lucien5
Ptolemy2
persons
0"Eva"
1"Moreau"
2"Aurora"
3"Evan"
4"Lucien"
5"Ptolemy"
places
0"Marseille"
globalScore0.953
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences43
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1211
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences87
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs44
mean27.52
std23.2
cv0.843
sampleLengths
047
112
256
379
46
511
64
731
849
94
102
1157
1230
135
1452
1531
165
1753
1862
196
2064
2174
2210
232
2413
252
2650
2736
2823
294
3057
3118
3219
337
3424
354
363
3726
382
3954
407
4145
4215
4350
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences62
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs128
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences87
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount828
adjectiveStacks0
stackExamples(empty)
adverbCount24
adverbRatio0.028985507246376812
lyAdverbCount4
lyAdverbRatio0.004830917874396135
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences87
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences87
mean13.92
std12.22
cv0.878
sampleLengths
012
117
218
34
48
53
619
721
813
93
1027
1119
1230
133
143
155
166
174
1825
196
206
2131
2212
234
242
252
2627
2711
2817
294
3011
3115
325
3311
3431
3510
3612
3719
385
3914
4039
413
4213
4346
446
4526
4638
478
4817
494
52.11% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats8
diversityRatio0.367816091954023
totalSentences87
uniqueOpeners32
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences57
matches(empty)
ratio0
65.61% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount22
totalSentences57
matches
0"She didn't move."
1"His slicked-back platinum hair caught"
2"She set the mug down."
3"He stepped inside and closed"
4"He closed the distance between"
5"He smelled of iron and"
6"His cane tapped once against"
7"His voice was low, cultured,"
8"His amber eye narrowed, predatory"
9"He reached out, thumb brushing"
10"She stared at him, at"
11"He stepped closer, his thigh"
12"he paused, his black eye"
13"she said, the words barely"
14"Her voice cracked"
15"She pushed against his chest,"
16"He caught her wrist, turning"
17"His thumb traced it, reverent,"
18"His heterochromatic gaze locked onto"
19"He didn't release her wrist,"
ratio0.386
12.63% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount51
totalSentences57
matches
0"The third deadbolt slid home"
1"Aurora froze, fingers tightening around"
2"The knock came again."
3"She didn't move."
4"The flat smelled of old"
5"Every surface teetered with leather-bound"
6"Ptolemy, the tabby, hissed from"
7"The handle turned."
8"The door swung inward before"
9"Lucien Moreau filled the doorway,"
10"His slicked-back platinum hair caught"
11"She set the mug down."
12"The ceramic cracked against the"
13"He stepped inside and closed"
14"The space was cramped, intimate,"
15"Aurora stood her ground near"
16"He closed the distance between"
17"He smelled of iron and"
18"His cane tapped once against"
19"His voice was low, cultured,"
ratio0.895
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences57
matches(empty)
ratio0
53.57% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences24
technicalSentenceCount3
matches
0"His cane tapped once against the floorboards, a staccato rhythm that matched the hammering of her pulse."
1"She stared at him, at the man who had taught her to shoot in a Marseille safehouse, who had kissed her bruises when Evan left her with them, who had disappeared…"
2"Eva stood there, takeaway bags in one hand, her eyes widening at the sight of them, at the intimacy of the moment, at the danger crackling in the air like stati…"
7.35% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags17
uselessAdditionCount4
matches
0"His amber eye narrowed, predatory"
1"he paused, his black eye darkening, ancient and bottomless,"
2"she said, the words barely audible, raw"
3"Eva said, her voice dropping to a whisper"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags8
fancyCount1
fancyTags
0"she whispered (whisper)"
dialogueSentences42
tagDensity0.19
leniency0.381
rawRatio0.125
effectiveRatio0.048
80.5448%