Run: 2026-10-20-01M5C6QA39GKSS4D62NXZS80G3

Run Details

Duration:
16.7s
Cost:
$0.001153
Provider:
InferenceNet

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 Rory’s hand, a clean, sharp crack against the polished oak of the bar. It didn't shatter, just chipped, leaving a jagged tooth on the rim. "Sorry," she muttered, not looking at Silas. The shards tinkled as she swept them into a dustpan. The Monday-night crowd at The Raven’s Nest was a sparse collection of hushed deals and quiet desperation. The air hung thick with the scent of spilled ale and old secrets. "I'll pretend I didn't see that," Silas said from his usual corner, a fresh glass already polished and waiting for her. He didn’t look up from the ledger he was annotating. "Slippery glass." "Something like that," Rory said. The lie tasted metallic on her tongue. She was about to turn back to the sink when the door opened. A gust of cool London air blew in, carrying with it the smell of rain on pavement and a faint, floral perfume she hadn't smelled in five years. A woman stepped in, shaking droplets from a silk headscarf. It was the way she held her handbag that Rory recognised first, a nervous clutch against her chest, as if it contained state secrets. Then she saw the face. The rounder cheeks, the laugh lines etched deeper, the hair now a sleek, expensive bob of auburn. Her heart performed a single, violent somersault in her chest. Eva. Eva caught her eye from across the room. Her perfectly glossed lips parted, a slow, practised smile spreading across her face, the kind meant for a camera or a difficult client. She glided towards the bar, her heels making no sound on the worn floorboards. The silk of her dress whispered against her tights. Everything about her was expensive, from the tailored cut of the fabric to the subtle gleam of the diamonds at her ears. She looked like a woman whose life was a series of deliberate choices, each one flawless. "Rory," Eva said. "What a surprise." The name felt like a slap. "Eva." Rory’s voice was a dry rasp. She felt the grain of the bar top beneath her fingers, a sudden, desperate need for its solid, familiar reality. She was in a plain black t-shirt and jeans, a dishtowel tucked into her back pocket. She felt like a ghost haunting her own life. "I thought you were still in Cardiff," Eva said, sliding onto a stool. She placed her handbag, a buttery leather thing, on the bar, keeping one hand on it. "Your mother said you were doing law. I saw her at the Christmas market. She said you were getting on wonderfully." The air in Rory's lungs seemed to turn to sand. Wonderful. She imagined her mother’s hopeful voice, spinning a story of a daughter who hadn't run away to a life of dodging phone calls and doing late-night deliveries of kung pao chicken for Yu-Fei Cheung. "Things change," Rory said. The words felt flimsy, inadequate. "Don't they just." Eva's gaze swept the bar, taking in the yellowed maps and the black-and-white photographs of men in uniforms, their faces long forgotten. "This is... atmospheric." She said it the way one might describe a damp basement. "It's home," Rory replied, a flash of defensive heat rising in her chest. She began wiping down the bar, a furious, methodical rhythm. Eva’s smile remained fixed. "I'm here for a meeting. A potential client. Turner Holdings, property developers. It's taken me six months to get this appointment." "Congratulations," Rory said, and meant it. Eva had always been ambitious. That ambition used to be directed at the whole world, including Rory, pulling her along in its wake. Now it was focused, hardened, entirely self-serving. "Thank you. It's a big deal. If it goes through, it's a permanent move to London." Eva’s fingers drummed once, twice, on the bar. A nervous habit she’d had since school. "I imagine a lot has changed for you too. Are you… still with Evan?" The name hung in the air, a noxious fume. The crescent scar on Rory’s wrist throbbed, a phantom pain from a thousand years ago. She stopped wiping. "No." "I'm sorry to hear that," Eva said, her voice softening with an empathy that felt rehearsed. "He always seemed so… passionate." Passionate. Rory almost laughed. It was a good word for it. A word for a love that burned so hot it left nothing but ash. For slammed doors and the sudden, terrifying weight of a fist against a wall. It was the word you used when you didn't know the other, uglier ones. "The passionate ones are always the hardest to leave," Eva continued, her eyes wide and understanding. Rory looked at her, really looked at her. Eva, who had been at her side in that cramped, awful flat in Cardiff, who had held her hair back while she cried and promised she’d never let her go back to him. Eva, who had bought her the bus ticket to London. The same Eva who, four months later, got engaged to a man just like Evan, a man she was now, presumably, still married to. "Was that a business meeting you had last month on the fourteenth?" Rory asked. "At the Langham?" Eva’s smile faltered. A flicker of something, surprise or perhaps annoyance, crossed her features. "How did you-" "Yu-Fei's kitchen does a lot of deliveries to the Langham. A lot of takeaway. A lot of receipts." Rory leaned on the bar. "A lot of wives. One of them had your name." The silence that followed was louder than any of the quiet conversations in the room. The colour bled from Eva’s cheeks. "He's a good man, Christopher," Eva said, her voice tight. "He provides for me. It's a partnership. A successful one." "Partnership," Rory repeated. The word tasted like chalk. "Is that what they call it now?" "It's a different world out there, Rory. You can't just run away from everything." Eva leaned forward, her expensive perfume now cloying and heavy. "You can't just hide behind a bar, pretending the fight isn't happening. I had to make a choice. I made mine. The one that didn't involve sleeping above a pub and lying to my parents about my entire life." The words landed, each one a well-aimed punch. Rory’s knuckles were white on the edge of the bar. "You made your choice. But don't you dare pretend it was the only one. You were right there with me, Eva. You knew what he was like. You bought me that ticket." "I was young," Eva spat, her composure finally cracking. "We were both young. I was drowning, Rory. I couldn't save you both." "You let me go," Rory whispered. "You got scared, and you let me go." The air crackled with the ghosts of their past, the shared trauma warping and reshaping itself into this ugly, present thing. Eva looked at her, and in her eyes, Rory didn't see her childhood friend. She saw a stranger, a woman who had built a fortress of comfort and called it a life. A loud crack came from the back room. Silas’s voice, low and sharp, cut through the bar’s ambient hum. The bookshelf swung open. Silas appeared, his face drawn. He didn't look at Eva. His eyes found Rory from across the room and his expression was a flat mask of grim purpose. He gestured with his head, a single, sharp motion. "Rory," he said, his voice carrying an apology. "He's here." The thick, acrid smell of smoke hit her then. Not cigarette smoke. Not the chimney. The smell of something chemical, something serious. Someone in the bar began coughing, a wet, hacking sound. "Who's here?" Eva asked, her voice trembling for the first time. Rory didn't answer her. She grabbed the heavy glass ashtray from the bar, the weight of it familiar in her palm. She looked at Eva, at the perfect stranger sitting in her bar, and a cold calm settled over her. "Someone from the old world," she said. "Now get out the back. Before he sees you."
created_at"2026-10-20T08:26:52.914Z" 10/20/2026, 8:26:52 AM
model"deepseek/deepseek-v4.1-flash-20261017"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency140
moderation_latency(null)
generation_time16701
tokens_prompt4445
tokens_completion2432
native_tokens_prompt4210
native_tokens_completion2223
native_tokens_completion_images(null)
native_tokens_reasoning437
native_tokens_cached4096
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(null)
usage0.001153388
router(null)
user_agent"langchainjs-openai/1.0.0 ((node/v24.21.0; linux; x64))"
http_referer(null)
request_id"req-1792484812-aESk0JCnGyvl8TFVR4h3"
session_id(null)
preset_id(null)
api_type"completions"
id"gen-1792484812-48iMWPqeEDXEMeFs6m5U"
upstream_id"gv2_pD7He0OczqASLzH7b6g1B"
provider_responses
0
endpoint_id"4231aea9-73af-4a2f-bd14-660b1d8b13b2"
id"gv2_pD7He0OczqASLzH7b6g1B"
is_byokfalse
latency140
model_permaslug"deepseek/deepseek-v4.1-flash-20261017"
provider_name"InferenceNet"
status200
total_cost0.001153388
cache_discount0.000294912
upstream_inference_cost0
provider_name"InferenceNet"
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
totalTags23
adverbTagCount1
adverbTags
0"Eva’s fingers drummed once [once]"
dialogueSentences42
tagDensity0.548
leniency1
rawRatio0.043
effectiveRatio0.043
92.56% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1344
totalAiIsmAdverbs2
found
0
adverb"perfectly"
count1
1
adverb"really"
count1
highlights
0"perfectly"
1"really"
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)
47.92% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1344
totalAiIsms14
found
0
word"silk"
count2
1
word"etched"
count1
2
word"flawless"
count1
3
word"familiar"
count2
4
word"methodical"
count1
5
word"potential"
count1
6
word"throbbed"
count1
7
word"weight"
count2
8
word"flicker"
count1
9
word"silence"
count1
10
word"perfect"
count1
highlights
0"silk"
1"etched"
2"flawless"
3"familiar"
4"methodical"
5"potential"
6"throbbed"
7"weight"
8"flicker"
9"silence"
10"perfect"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"hung in the air"
count1
highlights
0"hung in the air"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences98
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences98
filterMatches(empty)
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences116
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen39
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1344
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions20
unquotedAttributions0
matches(empty)
0.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions56
wordCount1016
uniqueNames12
maxNameDensity2.17
worstName"Eva"
maxWindowNameDensity5
worstWindowName"Eva"
discoveredNames
Rory20
Silas4
Monday-night1
Raven1
Nest1
London2
Yu-Fei1
Cheung1
Eva22
Passionate1
Cardiff1
Evan1
persons
0"Rory"
1"Silas"
2"Yu-Fei"
3"Cheung"
4"Eva"
5"Evan"
places
0"Raven"
1"London"
2"Cardiff"
globalScore0.417
windowScore0
44.37% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences71
glossingSentenceCount3
matches
0"looked like a woman whose life was a seri"
1"felt like a slap"
2"felt like a ghost haunting her own life"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1344
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences116
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs42
mean32
std21.28
cv0.665
sampleLengths
029
147
233
312
475
532
61
792
86
96
1052
1150
1245
139
1439
1523
1625
1736
1845
1927
201
2121
2253
2316
2475
2517
2617
2733
2821
2920
3015
3163
3250
3322
3414
3553
3660
3710
3832
3911
4040
4116
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences98
matches
0"got engaged"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs159
matches
0"was annotating"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences116
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1023
adjectiveStacks1
stackExamples
0"cold calm settled over her."
adverbCount23
adverbRatio0.022482893450635387
lyAdverbCount6
lyAdverbRatio0.005865102639296188
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences116
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences116
mean11.59
std7.7
cv0.665
sampleLengths
017
112
27
310
417
513
621
710
82
95
107
1113
1228
1310
1424
155
1617
1710
181
198
2023
2114
229
2322
2416
253
263
276
287
2920
3016
319
3213
3316
3421
3510
361
3734
384
395
4025
4114
4213
4310
444
4521
466
475
4818
497
46.26% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats13
diversityRatio0.3448275862068966
totalSentences116
uniqueOpeners40
37.88% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences88
matches
0"Then she saw the face."
ratio0.011
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount26
totalSentences88
matches
0"It didn't shatter, just chipped,"
1"she muttered, not looking at"
2"He didn’t look up from"
3"She was about to turn"
4"It was the way she"
5"Her heart performed a single,"
6"Her perfectly glossed lips parted,"
7"She glided towards the bar,"
8"She looked like a woman"
9"She felt the grain of"
10"She was in a plain"
11"She felt like a ghost"
12"She placed her handbag, a"
13"She imagined her mother’s hopeful"
14"She said it the way"
15"She began wiping down the"
16"She stopped wiping."
17"It was a good word"
18"It was the word you"
19"She saw a stranger, a"
ratio0.295
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount83
totalSentences88
matches
0"The glass slipped from Rory’s"
1"It didn't shatter, just chipped,"
2"she muttered, not looking at"
3"The shards tinkled as she"
4"The Monday-night crowd at The"
5"The air hung thick with"
6"Silas said from his usual"
7"He didn’t look up from"
8"The lie tasted metallic on"
9"She was about to turn"
10"A gust of cool London"
11"A woman stepped in, shaking"
12"It was the way she"
13"The rounder cheeks, the laugh"
14"Her heart performed a single,"
15"Eva caught her eye from"
16"Her perfectly glossed lips parted,"
17"She glided towards the bar,"
18"The silk of her dress"
19"Everything about her was expensive,"
ratio0.943
56.82% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences88
matches
0"Now it was focused, hardened,"
ratio0.011
90.59% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences41
technicalSentenceCount3
matches
0"It was the way she held her handbag that Rory recognised first, a nervous clutch against her chest, as if it contained state secrets."
1"She imagined her mother’s hopeful voice, spinning a story of a daughter who hadn't run away to a life of dodging phone calls and doing late-night deliveries of …"
2"Eva, who had bought her the bus ticket to London."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags23
uselessAdditionCount9
matches
0"she muttered, not looking at Silas"
1"Silas said, a fresh glass already polished and waiting for her"
2"Rory replied, a flash of defensive heat rising in her chest"
3"Eva said, her voice softening with an empathy that felt rehearsed"
4"Eva continued, her eyes wide and understanding"
5"Eva said, her voice tight"
6"Eva spat, her composure finally cracking"
7"he said, his voice carrying an apology"
8"Eva asked, her voice trembling for the first time"
30.95% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags19
fancyCount5
fancyTags
0"she muttered (mutter)"
1"Eva continued (continue)"
2"Rory repeated (repeat)"
3"Eva spat (spit)"
4"Rory whispered (whisper)"
dialogueSentences42
tagDensity0.452
leniency0.905
rawRatio0.263
effectiveRatio0.238
78.0449%