Run: 2026-10-07-01M4ATWZ1YEW7CJ5XHVDRGCTXA

Run Details

Duration:
3m 1s
Cost:
$0.030961
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 snap that rattled the plaster, and Rory's paring knife froze halfway to the parcel of Earl Grey on the counter. She hadn't checked the peephole. Eva had drilled that habit into her over six months of hiding, three deadbolts and a peephole and a baseball bat by the door, but tonight Rory had been too tired, too numb from the fourteen-hour shift at Golden Empress, too lost in the architecture of her own guilt. "Carter." The voice seeped through the timber, smooth as oil over a blade. French, with that Marseille lilt that had once coiled around her spine and made her ache. She recognised it instantly. She hated that she recognised it. "Open the door, or I will open it for you." Rory's fingers tightened around the knife. The small crescent scar on her left wrist itched, a phantom sensation from a childhood fall, from a different life when wounds healed clean and stayed healed. "Go away, Lucien." "Eva's not here." "Eva's never here when I need her. She's at the library. She's at the shops. She's anywhere but this cramped, book-infested flat above a curry house." Silence. Then the cane tapped against the doorframe, a measured, mocking rhythm. Tap. Tap. Tap. "You think I don't know where my business leads me?" The voice dropped, losing its performative charm, becoming something rougher, older. "You think six months is sufficient time for me to forget the scent of your shampoo? The particular key your laugh hits when you're pretending to study?" Rory's breath hitched. She'd changed her shampoo. She'd changed her number. She'd changed her name when ordering deliveries. The handle jiggled. "Last chance, Aurora." She opened the door. He filled the frame, tall and terrible in his tailored charcoal suit, the ivory cane hooked over his arm like a gentleman's accessory that concealed a lethal secret. His platinum hair lay slicked back, revealing the sharp, aristocratic line of his jaw, the high cheekbones that spoke of his demonic heritage from Avaros. But it was his eyes that arrested her, the heterochromatic pair, one amber and one black, mismatched and predatory, drinking in the sight of her with a hunger that made her step back. She wore Eva's oversized cardigan, the sleeves swallowing her hands. Her straight black hair hung lank around her shoulders, unwashed for two days. She looked like a waif, a ghost of the girl he had once carried out of a nightmare. He looked like the devil who had promised to drag her into heaven. "You're trespassing," she said. "Am I?" He stepped inside without invitation, his boots clicking against the linoleum with the precision of a man who knew exactly where he was placing his weight. He didn't close the door. Smart. He wanted an escape route. Or he wanted her to know she couldn't lock him out. The tabby cat, Ptolemy, hissed from atop the refrigerator, his fur bottle-brushed, his yellow eyes fixed on Lucien with supernatural suspicion. Rory flinched. Lucien didn't. His gaze tracked the cat, then the research notes tacked to every wall, the scrolls stacked like cordwood in the corner, the general chaos of Eva's one-bedroom flat. Cardamom and old paper scented the air, Eva's particular alchemy of scholarship and spice. "You've been staying here," Lucien observed. "Eva's my friend." "Eva is my client." He set the cane down with a soft thud against the doorframe. It looked innocent, that polished ivory handle, but she'd seen what it concealed, the thin blade that slid from the shaft with a whisper. "She told me you were safe. She told me you were healing. She lied to me, Aurora. Or you lied to her. Either way, the result is identical." He stepped closer. Close enough that she could smell him, bergamot and something darker, ozone and old magic, the scent of the supernatural underworld he navigated with such casual expertise. "You're still running." "I'm hiding." She gripped the knife tighter, the blade pressing into her palm, drawing a thin line of blood. "There's a difference. Running implies I have somewhere to go. Hiding means I'm waiting for the danger to pass." "Semantics." "You left without saying goodbye." The words tore out of her, ragged and sharp. She stepped back, but the flat was cramped, books and scrolls pressing in from every side, the narrow space between the sofa and the bookshelf barely wide enough for one person. Ptolemy yowled, a sound like breaking glass. "After everything." "After what?" She gestured wildly at the air, at the invisible threads of the supernatural world he inhabited, the realm of Avaros that pulsed behind his mismatched eyes, the four languages he spoke that had once made her feel provincial and small. "You took me to that safe house in Croydon. You held me while I shook. You kissed me like you were starving, like I was the only sustenance in a desert. Three weeks. Twenty-one days of borrowed time. And then you were gone. Just gone. With a note that said 'stay safe' and a promise that you'd call, and nothing. No call. No explanation. Just silence." "I was keeping you alive." "You were keeping yourself alive!" The accusation cracked her composure. She felt the familiar heat rising behind her eyes, the traitorous tears she refused to shed. "You used me, Lucien. You needed information about Evan's network, about where he kept his ledgers, his suppliers, his little black book of sins. I was a means to an end. A pretty law student with a pre-law degree and a connection to the monster. And when you got what you wanted, when you mapped his entire criminal enterprise, you left me with Eva and a suitcase and a head full of nightmares about demons and bargains and the things that go bump in the dark." Lucien's jaw tightened. For a moment, the mask slipped, and she saw the hurt there, raw and ancient, something that predated her, predated Evan, predated London. "You think I didn't feel it? Every second? Every breath?" He took another step, his boots silent now. She backed against the kitchen counter, the Formica edge digging into her spine, the smell of cumin and coriander from the curry house below seeping up through the floorboards. "I am half Avaros, Aurora. Half a creature of appetite and shadow and endless hunger. I couldn't stay. I would have consumed you. Or Evan would have found you through me, traced the connection, the scent. I chose the only path that kept you breathing." "By abandoning me?" "By surviving." He reached up, his fingers tracing her jawline, gentle despite the violence in his heterochromatic eyes. His thumb brushed the corner of her mouth, wiping away a tear she hadn't known she'd shed. "I have spent six months tearing apart the networks that protected him. Six months ensuring that when I returned, I could offer you something better than shadows and secrets and the constant threat of violence. I came back for you. And you've been hiding in a curry house with a witch and a cat, pretending to be normal, pretending to be safe." Rory's throat closed around the words. "You followed me." "I found you." He leaned in, his forehead nearly touching hers, his breath warm against her lips. It tasted of the red wine he must have drunk at some private club before coming here, of secrets and centuries. "I find you every time. It's rather my talent. My curse." She should push him away. She should scream for Eva. She should run for the baseball bat by the door and swing until his perfect face caved in. Instead, she reached up and grabbed the front of his charcoal jacket, pulling him closer with a strength that surprised her. Her lips crashed against his, fierce and bruising and desperate. He groaned, a low sound from deep in his chest, and his hands came up to cradle her face, his thumbs brushing her cheekbones with a reverence that made her ache. The kiss deepened, punishing and tender, six months of want and regret and unsaid words tangled between them, the cane clattering to the floor behind him, forgotten. When they broke apart, his amber eye gleamed in the dim light of the flat, the black pupil dilated, hungry. "God. You taste like home." "Don't." She pressed her forehead against his, her voice muffled against his collar, rough with emotion. "Don't make this pretty, Lucien. We broke for a reason. You're dangerous. I need to be normal. I need to be safe. I need to forget that monsters are real and that I ever touched one." "You were never safe with me," he whispered against her hair. "And you were never normal. Not with me. Not ever." A sound echoed from the stairwell. Heavy footsteps. Multiple sets, climbing fast, purposeful. The rhythm was wrong. Eva walked with a limp from an old injury, a distinctive drag. This was something else, something heavy and determined. Rory's head snapped up. Her blue eyes widened, bright with terror. "That's not Eva. She has a key. She never knocks." Lucien's hand moved to his cane, his fingers tightening around the ivory handle until his knuckles whitened. His heterochromatic eyes darkened, the black pupil swallowing the amber whole, his gaze turning ancient and lethal. "Evan," he said, and the name was a curse, a death sentence. "Or what's left of him." "How do you know?" "Because I hunted him for six months, Aurora." He turned to her, his expression hardening into something feral, beautiful and terrible, the mask of the gentleman fixer slipping to reveal the demon beneath. "And tonight, the hunt ends." He pulled her behind him, his body a shield, his free hand already sliding the thin blade from the cane's shaft. The door splintered.
created_at"2026-10-07T09:25:19.053Z" 10/7/2026, 9:25:19 AM
model"mistralai/mistral-large-4-0-20261006"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency739
moderation_latency(null)
generation_time180565
tokens_prompt4383
tokens_completion13645
native_tokens_prompt4222
native_tokens_completion13440
native_tokens_completion_images(null)
native_tokens_reasoning11221
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"
usage0.03096056
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.21.0; linux; x64))"
http_referer(null)
request_id"req-1791365119-CUoZgOPPJ1WPb0EeK8TC"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1791365119-wbWE2GiDzdboRk76L44z"
upstream_id"b82a5376dde747f99413e8e9cdc78111"
provider_responses
0
endpoint_id"19b3b5d7-23f6-4b63-8109-64a6cc37d996"
id"b82a5376dde747f99413e8e9cdc78111"
is_byokfalse
latency728
model_permaslug"mistralai/mistral-large-4-0-20261006"
provider_name"Mistral"
status200
total_cost0.03096056
cache_discount(null)
upstream_inference_cost0
provider_name"Mistral"
response_cache_source_id(null)
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
totalTags14
adverbTagCount0
adverbTags(empty)
dialogueSentences44
tagDensity0.318
leniency0.636
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1641
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)
48.20% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1641
totalAiIsms17
found
0
word"lilt"
count1
1
word"silence"
count2
2
word"measured"
count1
3
word"charm"
count1
4
word"weight"
count1
5
word"whisper"
count1
6
word"navigated"
count1
7
word"pulsed"
count1
8
word"familiar"
count1
9
word"traced"
count1
10
word"tracing"
count1
11
word"ensuring"
count1
12
word"perfect"
count1
13
word"echoed"
count1
14
word"footsteps"
count1
15
word"determined"
count1
highlights
0"lilt"
1"silence"
2"measured"
3"charm"
4"weight"
5"whisper"
6"navigated"
7"pulsed"
8"familiar"
9"traced"
10"tracing"
11"ensuring"
12"perfect"
13"echoed"
14"footsteps"
15"determined"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"eyes widened/narrowed"
count1
highlights
0"eyes widened"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells1
narrationSentences84
matches
0"t with terror"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences84
filterMatches
0"feel"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences114
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen86
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1641
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions13
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions33
wordCount1089
uniqueNames14
maxNameDensity0.64
worstName"Rory"
maxWindowNameDensity2
worstWindowName"Rory"
discoveredNames
Rory7
Earl1
Grey1
Golden1
Empress1
Marseille1
Avaros2
Eva6
Ptolemy2
Lucien5
Evan1
London1
Formica1
Tap3
persons
0"Rory"
1"Earl"
2"Grey"
3"Empress"
4"Eva"
5"Ptolemy"
6"Lucien"
7"Evan"
places
0"Golden"
1"Marseille"
2"Avaros"
3"London"
globalScore1
windowScore1
59.09% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences55
glossingSentenceCount2
matches
0"looked like a waif, a ghost of the girl h"
1"looked like the devil who had promised to"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1641
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount2
totalSentences114
matches
0"drilled that habit"
1"hated that she"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs54
mean30.39
std31.59
cv1.039
sampleLengths
027
154
21
338
410
533
63
73
826
915
1048
1118
123
133
144
1586
1654
174
182
1948
2067
216
223
2368
2430
253
2638
271
2854
292
30106
315
32112
33118
343
3597
366
373
3849
3928
4089
4120
425
4352
4421
4537
4611
4710
4834
4917
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences84
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs170
matches
0"was placing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences114
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1092
adjectiveStacks0
stackExamples(empty)
adverbCount31
adverbRatio0.028388278388278388
lyAdverbCount5
lyAdverbRatio0.004578754578754579
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences114
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences114
mean14.39
std14.29
cv0.993
sampleLengths
027
15
249
31
412
516
64
76
810
96
1027
113
123
1326
141
1511
161
171
181
1921
2027
213
224
234
247
253
263
274
2828
2925
3033
3110
3213
3318
3413
354
362
3726
385
391
405
4111
4221
432
442
4528
4614
476
483
4916
52.05% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats14
diversityRatio0.38596491228070173
totalSentences114
uniqueOpeners44
90.09% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences74
matches
0"Then the cane tapped against"
1"Instead, she reached up and"
ratio0.027
0.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount42
totalSentences74
matches
0"She hadn't checked the peephole."
1"She recognised it instantly."
2"She hated that she recognised"
3"She'd changed her shampoo."
4"She'd changed her number."
5"She'd changed her name when"
6"She opened the door."
7"He filled the frame, tall"
8"His platinum hair lay slicked"
9"She wore Eva's oversized cardigan,"
10"Her straight black hair hung"
11"She looked like a waif,"
12"He looked like the devil"
13"He stepped inside without invitation,"
14"He didn't close the door."
15"He wanted an escape route."
16"His gaze tracked the cat,"
17"He set the cane down"
18"It looked innocent, that polished"
19"He stepped closer."
ratio0.568
14.05% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount66
totalSentences74
matches
0"The third deadbolt slid home"
1"She hadn't checked the peephole."
2"Eva had drilled that habit"
3"The voice seeped through the"
4"French, with that Marseille lilt"
5"She recognised it instantly."
6"She hated that she recognised"
7"Rory's fingers tightened around the"
8"The small crescent scar on"
9"The voice dropped, losing its"
10"Rory's breath hitched."
11"She'd changed her shampoo."
12"She'd changed her number."
13"She'd changed her name when"
14"The handle jiggled."
15"She opened the door."
16"He filled the frame, tall"
17"His platinum hair lay slicked"
18"She wore Eva's oversized cardigan,"
19"Her straight black hair hung"
ratio0.892
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences74
matches(empty)
ratio0
0.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences37
technicalSentenceCount8
matches
0"French, with that Marseille lilt that had once coiled around her spine and made her ache."
1"He filled the frame, tall and terrible in his tailored charcoal suit, the ivory cane hooked over his arm like a gentleman's accessory that concealed a lethal se…"
2"His platinum hair lay slicked back, revealing the sharp, aristocratic line of his jaw, the high cheekbones that spoke of his demonic heritage from Avaros."
3"But it was his eyes that arrested her, the heterochromatic pair, one amber and one black, mismatched and predatory, drinking in the sight of her with a hunger t…"
4"He stepped inside without invitation, his boots clicking against the linoleum with the precision of a man who knew exactly where he was placing his weight."
5"It looked innocent, that polished ivory handle, but she'd seen what it concealed, the thin blade that slid from the shaft with a whisper."
6"He groaned, a low sound from deep in his chest, and his hands came up to cradle her face, his thumbs brushing her cheekbones with a reverence that made her ache…"
7"His heterochromatic eyes darkened, the black pupil swallowing the amber whole, his gaze turning ancient and lethal."
53.57% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags14
uselessAdditionCount2
matches
0"He took, his boots silent now"
1"he said, and the name was a curse, a death sentence"
81.82% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags5
fancyCount3
fancyTags
0"Lucien observed (observe)"
1"She pressed (press)"
2"he whispered (whisper)"
dialogueSentences44
tagDensity0.114
leniency0.227
rawRatio0.6
effectiveRatio0.136
79.9625%