Run: 2026-10-07-01M4ATR2TAPRJNEZJV1GTZGBV4

Run Details

Duration:
4m 56s
Cost:
$0.029993
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 clicked with a sound like a bone snapping. Aurora's knife froze halfway to the breadboard, the serrated edge catching the kitchen light. "Open the door, Aurora." His voice. Gravel wrapped in velvet. The French lilt cutting through the London night like a blade through silk. She didn't breathe. The kettle shrieked, high and thin, a warning she ignored. Three knocks followed, deliberate and patient, the rhythm of a man who had all the time in the world and none of it to spare. Her fingers found the chain. Through the peephole, darkness first, then platinum hair catching the streetlight, sharp cheekbones, and that infuriating, devastating smirk that had haunted her dreams for six months. She dropped the chain. The door swung wide on rusted hinges. Lucien Moreau filled the frame, tall and terrible in a tailored charcoal suit that cost more than her semester's tuition. The ivory-handled cane tapped once against the threshold, the sound sharp in the sudden silence. His heterochromatic eyes caught the light from the kitchen, the amber one flaring like a lantern, the black one swallowing it whole, a void where a pupil should be. "Evening, Carter." "You don't knock." She stepped back, putting the Formica counter between them. Law books teetered on the shelf above, precarious towers of tort and contract, spines cracked from overuse. A delivery bag from Golden Empress lay crumpled on the floor, wonton wrappers spilling out like confetti, the smell of chilli oil sharp in the air. Empty coffee cups ringed the sink. "You don't visit. You vanish." "And here I am, returned." He closed the door behind him. Three deadbolts slid home with mechanical finality, a sound that made her stomach clench. The flat above Silas' bar suddenly felt too small, the walls pressing in, the ceiling lowering. "You left the window unlocked. Sloppy." "It's a fourth-floor flat above a pub." "Predictable." He pushed off the door, advancing. The space between them shrank with every step. She retreated until her spine pressed against the humming refrigerator. The compressor rattled, a mechanical heartbeat. Below them, Silas' bar thumped with bass, a subterranean pulse that vibrated through the floorboards. She could smell stale beer and frying oil seeping up through the cracks, the ghost of last night's curry. "Still wearing that scar?" "Still breathing. Coincidence?" "Not for me." He stopped close enough that she could smell bergamot and ozone, ancient power and expensive cologne. His hand rose, hovering near her jaw, not touching, but the heat of him radiated across the gap. She didn't pull away. She never did, not even when it hurt. "I watched you, Rory. For six months. Through the rain, through the twelve-hour shifts at Golden Empress, through the nights you cried into your pillow after Evan left bruises shaped like fingers on your arms." Aurora's laugh was sharp, broken glass. "Hunting? You mean like last spring, when you disappeared for ninety days and left me alone with his fists? When I had to change the locks three times because I was afraid you'd come back, or worse, that you wouldn't, and I'd be left wondering if you'd ever cared at all?" "I left to keep you breathing." "Kept me breathing?" She shoved off the fridge, circling him. The flat was too small, the air too thick, charged with static and memory. Her black hair fell around her shoulders, straight and dark against the pale blue of her delivery uniform. Her bright blue eyes blazed up at him, fierce and wounded. "You kept me terrified. You kept me waiting for texts that never came. You kept me studying for exams at three in the morning because sleep was impossible without you beside me, wondering if I'd imagined the way you looked at me when you thought I was asleep, if I'd invented the danger that made you leave." "I was in Avaros." His voice dropped, losing the polish, the four languages he usually wielded like weapons. Raw. Hurting. "Negotiating with my father's kind. The Archons. The ones who want your soul for the debt I owe them. I spent ninety days in their torture pits, Aurora. I let them carve my skin, drink my blood, because I thought if I severed the contract, if I paid the price, they'd leave you alone. I thought I could buy you safety with my suffering." "Debt?" She stopped in front of him, close enough to touch, close enough to hurt. Five foot six of her against his five eleven, her eyes level with his ruined gaze, searching for the man she'd known, the one who'd whispered secrets against her throat in the dark, who'd made her feel powerful and small all at once. "You sold your soul to save me? That's not romantic, Lucien. That's a cage with velvet lining. That's a noose disguised as a necklace." "It's a choice." He caught her left wrist, turning it to expose the crescent scar, the pale moon on her skin from the childhood accident. His thumb traced it, gentle, reverent, possessive. "I'd choose you every time. Even if it burns. Even if it damns us both to hell. I'd walk through fire, I'd bleed for you, I'd tear the sky apart to keep you safe." His eyes changed. The amber one flared, demonic and hungry, pupils slitting to vertical slashes of gold. The black one wept liquid shadow, pooling at the corners, dripping down his cheek like ink, consuming the light around him. Outside, a car screeched to a halt on the cobblestones below. Tires squealed against wet stone. Doors slammed, heavy and final. Then silence, terrible and absolute. Lucien's head snapped towards the window. His grip on her wrist tightened, not painful, but claiming, absolute, his fingers digging into her skin. "They're early," he said. "Who?" "The collectors." He grabbed her hand with his free one, his other hand closing around the ivory cane. The wood groaned as the hidden blade slid free, whispering against the metal, a sound like a sigh or a scream. "I broke the contract, Aurora. I ran. And they don't forgive runners. They don't forget faces. They take what is owed, limb by limb, soul by soul." Glass shattered in the hallway. Footsteps, heavy and wrong, climbed the stairs. The floorboards groaned under weight that shouldn't exist, too many limbs, too much hunger, clicking and skittering like insects made of bone. The bass from Silas' bar faltered, replaced by a low, thrumming vibration that rattled the windows, that made her teeth ache. "We need to move," he said, pulling her towards the living room. "Now." "Lucien, if this is about what happened in Cardiff, if you think you can just waltz back in and fix everything with your pretty face and your demon magic, you're wrong. I don't need saving. I survived Evan. I can survive this." "Shut up and run." He yanked open the fire escape door. Cold air rushed in, carrying the scent of rain and impending violence, the sharp tang of the Thames, the promise of freedom or death. Four floors down, headlights swept the alley, illuminating shapes that moved like broken marionettes, jerky and wrong, their shadows stretching long and hungry across the brick. Claws scraped stone. "I'm not losing you to them. Not this time. Not ever." He pulled her onto the metal stairs, his arm solid around her waist, his cane in his other hand, the blade catching the streetlight, gleaming. The drop was dizzying, the city sprawling below like a circuit board of light and dark. Below, the shadows lengthened, reaching up with fingers of smoke and spite, grasping for her ankles, pulling at her heels. Aurora looked up at him, terror and desire warring in her bright blue eyes, her breath misting in the cold air. The scar on her wrist throbbed under his touch, a brand, a bond. "Jump," he said, his amber eye reflecting the streetlights, his black eye eating the dark, his voice a vow, "and I'll catch you." She jumped.
created_at"2026-10-07T09:22:39.071Z" 10/7/2026, 9:22:39 AM
model"mistralai/mistral-large-4-0-20261006"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency772
moderation_latency(null)
generation_time295962
tokens_prompt4383
tokens_completion13340
native_tokens_prompt4222
native_tokens_completion12977
native_tokens_completion_images(null)
native_tokens_reasoning11368
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
num_fetches(null)
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is_byokfalse
finish_reason"stop"
native_finish_reason"stop"
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usage0.02999289
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provider_responses
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is_byokfalse
latency740
model_permaslug"mistralai/mistral-large-4-0-20261006"
provider_name"Mistral"
status200
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data_region"global"
workspace_id"97e315e5-d303-487d-83c1-83180e8a13d4"

Evaluation details

Result Evaluator Details Meta Data
75.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags13
adverbTagCount2
adverbTags
0"She stepped back [back]"
1"He stopped close [close]"
dialogueSentences32
tagDensity0.406
leniency0.813
rawRatio0.154
effectiveRatio0.125
96.26% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1337
totalAiIsmAdverbs1
found
0
adverb"suddenly"
count1
highlights
0"suddenly"
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)
25.21% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1337
totalAiIsms20
found
0
word"velvet"
count2
1
word"lilt"
count1
2
word"silk"
count1
3
word"silence"
count2
4
word"mechanical"
count2
5
word"stomach"
count1
6
word"predictable"
count1
7
word"pulse"
count1
8
word"vibrated"
count1
9
word"charged"
count1
10
word"traced"
count1
11
word"shattered"
count1
12
word"footsteps"
count1
13
word"weight"
count1
14
word"gleaming"
count1
15
word"desire"
count1
16
word"throbbed"
count1
highlights
0"velvet"
1"lilt"
2"silk"
3"silence"
4"mechanical"
5"stomach"
6"predictable"
7"pulse"
8"vibrated"
9"charged"
10"traced"
11"shattered"
12"footsteps"
13"weight"
14"gleaming"
15"desire"
16"throbbed"
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
narrationSentences72
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences72
filterMatches
0"feel"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences91
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen64
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1337
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions12
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions16
wordCount869
uniqueNames13
maxNameDensity0.35
worstName"Aurora"
maxWindowNameDensity1
worstWindowName"Three"
discoveredNames
French1
London1
Moreau1
Formica1
Law1
Golden1
Empress1
Three2
Raw1
Five1
Cold1
Thames1
Aurora3
persons
0"Moreau"
1"Law"
2"Aurora"
places
0"London"
1"Golden"
2"Cold"
3"Thames"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences53
glossingSentenceCount0
matches(empty)
50.41% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.496
wordCount1337
matches
0"not touching, but the heat of him radiated across the gap"
1"not painful, but claiming, absolute, his fingers digging into her skin"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences91
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs34
mean39.32
std30.11
cv0.766
sampleLengths
024
14
219
338
431
54
671
72
866
947
107
1169
123
1384
1457
156
16110
1784
1882
1966
2038
2126
2223
234
241
2566
2655
2713
2842
2975
3061
3134
3223
332
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences72
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs136
matches
0"was dizzying"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences91
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount625
adjectiveStacks0
stackExamples(empty)
adverbCount13
adverbRatio0.0208
lyAdverbCount0
lyAdverbRatio0
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences91
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences91
mean14.69
std12.22
cv0.832
sampleLengths
010
114
24
32
44
513
63
710
825
95
1026
114
127
1320
1415
1529
162
1712
1817
1926
206
215
2211
2314
2416
256
267
277
288
2910
306
3115
3219
334
343
3519
3618
374
388
3935
406
4151
426
4310
4414
4518
4611
4757
4818
491
75.82% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats6
diversityRatio0.4945054945054945
totalSentences91
uniqueOpeners45
50.51% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences66
matches
0"Then silence, terrible and absolute."
ratio0.015
56.36% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount27
totalSentences66
matches
0"She didn't breathe."
1"Her fingers found the chain."
2"She dropped the chain."
3"His heterochromatic eyes caught the"
4"She stepped back, putting the"
5"He closed the door behind"
6"He pushed off the door,"
7"She retreated until her spine"
8"She could smell stale beer"
9"He stopped close enough that"
10"His hand rose, hovering near"
11"She didn't pull away."
12"She never did, not even"
13"She shoved off the fridge,"
14"Her black hair fell around"
15"Her bright blue eyes blazed"
16"His voice dropped, losing the"
17"She stopped in front of"
18"He caught her left wrist,"
19"His thumb traced it, gentle,"
ratio0.409
35.76% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount56
totalSentences66
matches
0"The deadbolt clicked with a"
1"Aurora's knife froze halfway to"
2"Gravel wrapped in velvet."
3"The French lilt cutting through"
4"She didn't breathe."
5"The kettle shrieked, high and"
6"Her fingers found the chain."
7"She dropped the chain."
8"The door swung wide on"
9"Lucien Moreau filled the frame,"
10"The ivory-handled cane tapped once"
11"His heterochromatic eyes caught the"
12"She stepped back, putting the"
13"Law books teetered on the"
14"A delivery bag from Golden"
15"He closed the door behind"
16"The flat above"
17"He pushed off the door,"
18"The space between them shrank"
19"She retreated until her spine"
ratio0.848
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences66
matches(empty)
ratio0
0.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences32
technicalSentenceCount8
matches
0"Through the peephole, darkness first, then platinum hair catching the streetlight, sharp cheekbones, and that infuriating, devastating smirk that had haunted he…"
1"Three deadbolts slid home with mechanical finality, a sound that made her stomach clench."
2"Five foot six of her against his five eleven, her eyes level with his ruined gaze, searching for the man she'd known, the one who'd whispered secrets against he…"
3"His grip on her wrist tightened, not painful, but claiming, absolute, his fingers digging into her skin."
4"The floorboards groaned under weight that shouldn't exist, too many limbs, too much hunger, clicking and skittering like insects made of bone."
5"Four floors down, headlights swept the alley, illuminating shapes that moved like broken marionettes, jerky and wrong, their shadows stretching long and hungry …"
6"Below, the shadows lengthened, reaching up with fingers of smoke and spite, grasping for her ankles, pulling at her heels."
7"Aurora looked up at him, terror and desire warring in her bright blue eyes, her breath misting in the cold air."
86.54% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags13
uselessAdditionCount1
matches
0"He grabbed, his other hand closing around the ivory cane"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags3
fancyCount0
fancyTags(empty)
dialogueSentences32
tagDensity0.094
leniency0.188
rawRatio0
effectiveRatio0
81.7289%