Run: 2026-10-07-01M4AV2XQGQAZDMW5MGRBPA36C

Run Details

Duration:
18.2s
Cost:
$0.022082
Provider:
Mistral

Model input

System
You are an expert and award-winning novel writer in the dark Literary Fiction genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <character id="4413" name="Silas Blackwood" aliases="Silas, Si, the Spymaster" pronouns="he/him" species="Human" storyRole="Mentor"> <eyeColor>hazel</eyeColor> <hair>grey-streaked auburn</hair> <height>6'1"</height> <age>58</age> <beard>neatly trimmed, matching his grey-streaked auburn hair</beard> <limp>slight limp in his left leg from an old knee injury</limp> <signetRing>silver signet ring, always worn on his right hand</signetRing> <description>Silas is a retired intelligence operative turned bar owner. He carries himself with quiet authority.</description> <backstory>Former MI6 field agent who retired after a botched operation in Prague left him with a permanent knee injury. He opened "The Raven's Nest" bar in Soho as a front for his network of contacts.</backstory> </character> <location id="854" name="The Raven's Nest" aliases="the Nest, Raven, Silas' bar" realm="Earth"> <signColor>distinctive green neon sign above the entrance</signColor> <secretRoom>hidden back room accessible through a bookshelf, used for clandestine meetings</secretRoom> <description>A dimly lit bar in Soho, London. The walls are covered with old maps and black-and-white photographs.</description> </location> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the literary fiction genre. Two old friends who haven't seen each other in years run into each other unexpectedly at a bar. One of them has changed significantly. Through their conversation and the tension between who they were and who they've become, reveal the weight of time and unspoken regret. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The glass slipped from her fingers before it hit the bar. Aurora barely caught it, the amber liquid sloshing over her thumb. The ice cube melted against her skin, cold and sharp. "Didn't think I'd see you here, Laila." That voice. Low, rough, like gravel under a boot. She hadn’t heard it in—what? Five years? Six? The name *Laila* hit her like a punch to the sternum. No one called her that anymore. Not since she’d left Cardiff, not since she’d buried the girl who thought she could outrun her past. Silas stood at the end of the bar, his signet ring glinting under the dim lights of The Raven’s Nest. The green neon sign outside cast a sickly glow through the window, painting his face in shades of jade and shadow. His beard was more grey now, the auburn streaks faded like old bloodstains. The limp was still there, that slight hitch in his step when he moved, as if the past refused to let him forget. Aurora wiped her hand on her jeans, the denim rough against her palm. "Silas." His name tasted foreign on her tongue. She hadn’t said it aloud in years. Not since she’d fled London the first time, not since she’d thought she could leave all of this behind. He didn’t smile. Just nodded, as if her presence was expected, as if she hadn’t vanished without so much as a goodbye. The bar was quiet tonight, the usual hum of conversation muted, as if the room itself held its breath. The walls, lined with yellowed maps and black-and-white photographs of places she didn’t recognise, seemed to lean in. "You’re working for Yu-Fei now?" His voice cut through the silence, precise, like a blade sliding between ribs. She stiffened. Of course he knew. Silas knew everything. "Part-time. Deliveries." She kept her tone light, as if it were nothing, as if she hadn’t spent the last two years pedalling through London’s rain-slicked streets, her thighs burning, her lungs screaming, just to keep the rent paid on the flat above this very bar. "Delivery girl." He said it like it was a title, like it was something to be proud of. Or ashamed of. With Silas, it was always hard to tell. "Never took you for the type to settle for minimum wage." Aurora’s fingers curled around the glass. The condensation beaded under her nails. "Didn’t take you for the type to settle for barkeep." That got a reaction. A flicker in his hazel eyes, the ghost of a smirk tugging at the corner of his mouth. "This isn’t settling, Rory. This is strategy." He tapped the bar with his knuckles, the sound sharp, deliberate. "You, on the other hand, look like you’re running." She flinched. Not at the words, but at the accuracy. The way he said it, like he’d been watching her this whole time, like he’d seen the late-night rides, the way she jumped at the sound of footsteps behind her, the way she still checked the locks three times before bed. "I’m not running. I’m living." "Living." He repeated the word like it was a joke. "Funny way to describe it." He leaned forward, the scent of aged whiskey and something darker—gun oil, maybe—wrapping around her. "You left Cardiff. Left your name. Left *him*." The last word was a bullet, fired low and deliberate. Aurora’s breath hitched. Evan. She hadn’t heard that name in years, not aloud, not even in her own head. She’d buried it deep, under layers of new identities, new cities, new lives. But Silas had always had a way of digging up the things she wanted to forget. "That’s not my life anymore." "Isn’t it?" He straightened, his gaze flicking to the door, then back to her. "You think a name change erases the past? You think a few hundred miles and a new haircut make you someone else?" She wanted to snap at him, to tell him he didn’t know what he was talking about. But the words died in her throat. Because he did know. Silas had always known. That was the problem. The silence stretched, thick and suffocating. The ice in her glass had melted completely now, the whiskey diluted, weak. Like her resolve. "You look tired," he said at last, his voice softer, almost gentle. It was worse than the accusations. Aurora laughed, a sharp, humourless sound. "Thanks. You look like hell yourself." Silas chuckled, low and rough. "Fair." He reached beneath the bar and pulled out a fresh glass, pouring two fingers of something dark and expensive. He slid it towards her. "Drink. On the house." She hesitated, then took it. The first sip burned all the way down, warm and bitter. It tasted like memory. "What’s the catch?" "No catch." He wiped down the bar with a rag, his movements slow, methodical. "Just an old friend buying a drink for another." "Old friend." The words left a bad taste in her mouth. "Is that what we are?" Silas paused. The rag stilled in his hand. "What else would we be?" Aurora swirled the whiskey in her glass, watching the liquid cling to the sides. "You tell me. You’re the one who taught me how to disappear." A muscle in his jaw twitched. "And you’re the one who did it without so much as a thank you." The words stung. She looked away, her gaze landing on the bookshelf at the far end of the bar. The one that hid the secret room. The one she’d never been allowed to enter, not even when she’d worked for him, back when she’d still believed in the idea of control, of safety. "I didn’t think you’d want a thank you." "I wanted a lot of things." His voice was quiet now, the edge gone. "Didn’t get most of them." The air between them was heavy, charged with all the things they weren’t saying. The regrets, the choices, the roads not taken. Aurora finished her drink in one go, the burn in her chest spreading. "What do you want now, Silas?" He studied her for a long moment, his hazel eyes unreadable. Then, slowly, he reached into his pocket and pulled out a key. It was small, silver, unremarkable. He placed it on the bar between them. "I want you to stop running." Aurora stared at the key. It gleamed under the dim light, a tiny, taunting thing. "What’s that?" "A way in." He tapped the bookshelf with his knuckles. "You know what’s behind there." She did. Everyone in their line of work did. The Raven’s Nest wasn’t just a bar. It was a hub, a nexus, a place where the kind of people who operated in the shadows came to trade secrets and favours. And the room behind that bookshelf was where the real business happened. "You’re offering me a job." "I’m offering you a chance to stop pretending." He leaned in, his voice dropping to a whisper. "You’re not a delivery girl, Rory. You never were." Her pulse pounded in her ears. This was what she’d wanted, wasn’t it? A way back in. A way to be more than just a girl on a bike, more than just a survivor. But the fear coiled in her gut, cold and heavy. "What if I don’t want it?" Silas’ expression didn’t change. "Then you walk away. Again." He pushed the key a little closer. "But we both know you won’t." Aurora’s fingers twitched towards it. She could take it. She could walk through that door, step back into the world she’d left behind. The world where she wasn’t just Aurora Carter, where she was *Malphora*, the ghost, the girl who could slip through the cracks and come out the other side unscathed. But that girl had died in Cardiff. Or at least, that’s what she’d told herself. The door to the bar creaked open, letting in a gust of cold air. A group of laughter and chatter spilled in, breaking the spell. Silas didn’t look away from her, but his hand drifted towards his pocket, his body tensing slightly. Old habits. Aurora exhaled, long and slow. "What’s the first job?" Silas smiled. It wasn’t a kind smile. "There’s a package in the back. Needs delivering to a man in Whitechapel. Tonight." She should’ve known. There was always a catch. "And if I say no?" He shrugged. "Then I’ll find someone else. But you won’t." He tapped the key again. "This is your shot, Rory. Take it or leave it." The whiskey had warmed her, but the cold reality of his words sobered her quickly. She reached out, her fingers brushing the key. It was heavier than it looked. "What’s in the package?" Silas’ smile widened, just a fraction. "That’s the beauty of it. You don’t ask." Aurora’s grip tightened around the key. The metal bit into her palm, a sharp, grounding pain. She thought of the flat upstairs, the half-packed bags under her bed, the way she still woke up some nights gasping, convinced Evan’s hands were around her throat. She thought of the girl she’d been, the one who’d believed she could outrun her past. And then she thought of the woman she could be. She pocketed the key. "Give me the address."
created_at"2026-10-07T09:28:34.307Z" 10/7/2026, 9:28:34 AM
model"mistralai/mistral-medium-3.5-20260430"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency418
moderation_latency(null)
generation_time18122
tokens_prompt4445
tokens_completion2219
native_tokens_prompt4286
native_tokens_completion2087
native_tokens_completion_images(null)
native_tokens_reasoning0
native_tokens_cached4224
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"
usage0.0220815
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.21.0; linux; x64))"
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request_id"req-1791365314-SWKuMHg1DP25nv2envTr"
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api_type"completions"
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upstream_id"36c26993d1b3459397f43a64a878d03a"
provider_responses
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endpoint_id"d21d316f-d540-4718-b36e-3beff85d0cf9"
id"36c26993d1b3459397f43a64a878d03a"
is_byokfalse
latency418
model_permaslug"mistralai/mistral-medium-3.5-20260430"
provider_name"Mistral"
status200
total_cost0.0220815
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
totalTags18
adverbTagCount0
adverbTags(empty)
dialogueSentences50
tagDensity0.36
leniency0.72
rawRatio0
effectiveRatio0
83.87% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1550
totalAiIsmAdverbs5
found
0
adverb"very"
count1
1
adverb"completely"
count1
2
adverb"slowly"
count1
3
adverb"slightly"
count1
4
adverb"quickly"
count1
highlights
0"very"
1"completely"
2"slowly"
3"slightly"
4"quickly"
100.00% AI-ism character names
Target: 0 AI-default names (16 tracked, −20% each)
codexExemptions
0"Blackwood"
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
64.52% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1550
totalAiIsms11
found
0
word"glinting"
count1
1
word"silence"
count2
2
word"flicker"
count1
3
word"footsteps"
count1
4
word"resolve"
count1
5
word"methodical"
count1
6
word"charged"
count1
7
word"unreadable"
count1
8
word"whisper"
count1
9
word"pulse"
count1
highlights
0"glinting"
1"silence"
2"flicker"
3"footsteps"
4"resolve"
5"methodical"
6"charged"
7"unreadable"
8"whisper"
9"pulse"
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
narrationSentences124
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences124
filterMatches(empty)
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences158
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen47
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans3
markdownWords3
totalWords1547
ratio0.002
matches
0"Laila"
1"him"
2"Malphora"
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
totalMentions32
wordCount1232
uniqueNames8
maxNameDensity0.97
worstName"Aurora"
maxWindowNameDensity2
worstWindowName"Silas"
discoveredNames
Cardiff2
Raven2
Nest2
London2
Silas9
Aurora12
Carter1
Evan2
persons
0"Raven"
1"Silas"
2"Aurora"
3"Carter"
4"Evan"
places
0"Cardiff"
1"London"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences86
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.646
wordCount1547
matches
0"Not at the words, but at the accuracy"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences158
matches
0"heard that name"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs47
mean32.91
std18.13
cv0.551
sampleLengths
032
17
252
377
447
559
618
754
840
922
1049
1156
1248
1353
1436
1536
1622
1718
1812
1934
2023
2123
2216
2313
2426
2520
2661
2719
2841
2942
3017
3115
3257
3326
3450
3522
3667
3744
389
3921
4013
4125
4233
4314
4460
4510
468
99.60% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences124
matches
0"was expected"
1"been allowed"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs215
matches
0"was talking"
1"weren’t saying"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount3
semicolonCount0
flaggedSentences2
totalSentences158
ratio0.013
matches
0"She hadn’t heard it in—what?"
1"\"Funny way to describe it.\" He leaned forward, the scent of aged whiskey and something darker—gun oil, maybe—wrapping around her."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1040
adjectiveStacks0
stackExamples(empty)
adverbCount34
adverbRatio0.032692307692307694
lyAdverbCount4
lyAdverbRatio0.0038461538461538464
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences158
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences158
mean9.79
std7.07
cv0.722
sampleLengths
011
111
210
37
42
57
65
72
81
911
106
1118
1220
1321
1413
1523
1613
178
187
1919
203
2119
2219
2318
2418
252
264
273
2845
2918
303
318
3211
336
346
3510
364
3718
3818
399
402
418
4241
435
4410
4520
4618
473
481
4915
44.30% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats9
diversityRatio0.27848101265822783
totalSentences158
uniqueOpeners44
88.50% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences113
matches
0"Just nodded, as if her"
1"Of course he knew."
2"Then, slowly, he reached into"
ratio0.027
67.79% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount43
totalSentences113
matches
0"She hadn’t heard it in—what?"
1"His beard was more grey"
2"His name tasted foreign on"
3"She hadn’t said it aloud"
4"He didn’t smile."
5"His voice cut through the"
6"She kept her tone light,"
7"He said it like it"
8"He tapped the bar with"
9"He repeated the word like"
10"He leaned forward, the scent"
11"She hadn’t heard that name"
12"She’d buried it deep, under"
13"He straightened, his gaze flicking"
14"She wanted to snap at"
15"he said at last, his"
16"It was worse than the"
17"He reached beneath the bar"
18"He slid it towards her."
19"She hesitated, then took it."
ratio0.381
48.50% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount93
totalSentences113
matches
0"The glass slipped from her"
1"Aurora barely caught it, the"
2"The ice cube melted against"
3"She hadn’t heard it in—what?"
4"The name *Laila* hit her"
5"Silas stood at the end"
6"The green neon sign outside"
7"His beard was more grey"
8"The limp was still there,"
9"Aurora wiped her hand on"
10"His name tasted foreign on"
11"She hadn’t said it aloud"
12"He didn’t smile."
13"The bar was quiet tonight,"
14"The walls, lined with yellowed"
15"His voice cut through the"
16"Silas knew everything."
17"She kept her tone light,"
18"He said it like it"
19"Aurora’s fingers curled around the"
ratio0.823
44.25% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences113
matches
0"Because he did know."
ratio0.009
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences44
technicalSentenceCount1
matches
0"The bar was quiet tonight, the usual hum of conversation muted, as if the room itself held its breath."
13.89% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags18
uselessAdditionCount4
matches
0"She kept, as if it were nothing, as if she hadn’t spent the last two years pedalling through London’s rain-slicked streets, her thighs burning, her lungs screaming, just to keep the rent paid on the flat above this very bar"
1"He straightened, his gaze flicking to the door, then back to her"
2"he said, his voice softer, almost gentle"
3"He leaned in, his voice dropping to a whisper"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags3
fancyCount1
fancyTags
0"He repeated (repeat)"
dialogueSentences50
tagDensity0.06
leniency0.12
rawRatio0.333
effectiveRatio0.04
88.5070%