Run: 2026-10-20-01M5C6QTKMCBGGVE9TDNSBY1ZK

Run Details

Duration:
18.5s
Cost:
$0.001276
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 gin and tonic was mostly tonic, the lime a sad, desiccated wheel. Aurora Carter, Rory to anyone who still knew her, pushed it around the coaster. The condensation soaked the cardboard, turning it dark and limp. Across the room, the green neon sign of The Raven’s Nest hummed a faint, insectile buzz, the only reliable sound in the quiet lull before the evening rush. A figure detached from the gaggle near the door, a woman Rory hadn’t seen in five years. Maeve O’Connell. Her hair was shorter now, a sharp, black bob that framed her face, but she moved with the same long-limbed, liquid grace, her jeans and a simple dark shirt as unassuming as ever. She caught Rory’s eye and for a second, the world narrowed to a point of shared, uncomfortable recognition. “Well, bugger me,” Maeve said, her Dublin accent thicker than Rory remembered. “I thought my eyes were playing tricks. Rory Carter, in a Soho dive.” Rory’s smile felt tight on her face. “Hello, Maeve.” “Of all the gin joints,” Maeve said, sliding onto the stool beside her. “You’re not in Casablanca, and I’m not Humphrey Bogart. What are you drinking?” Rory asked, signalling Silas. “Gin. Straight up. No ice, no fuss.” Maeve’s gaze swept the bar, taking in the old maps, the framed black-and-white photos. “Interesting place. You a regular, or are we both just lost?” “I live upstairs,” Rory said, the admission slipping out before she could stop it. Maeve’s eyebrows shot up. “Upstairs. So London life is treating you well?” “It’s a flat,” Rory said, her voice flat. “It’s cheap.” Silas appeared, a ghost with a limp in his step, placing a glass of gin in front of Maeve. His silver signet ring glinted. “Maeve? Sounded Irish.” Maeve turned, her expression softening into something she rarely showed and reserved for those she trusted. Or those she wanted to trust her. “Dublin born, London living. You clocked the accent, then.” She smiled, disarmingly. “I’m an old friend.” “Hasn’t been old for me,” Rory interjected, her tone flat. Maeve’s smile didn’t waver. “Ah but the 6th year is where you are now.” “Just past,” Rory confirmed. “Heavy?” Maeve asked, the word hanging in the air between them. Rory didn’t answer, her fingers tracing the rim of her glass. The silence was a physical thing, a third person at the bar. Maeve took a slow sip of her gin. “Last I heard from my mum’s church gossip line, you were off being a high-flyer. Solicitor. Some firm near the river.” “I was.” Rory’s voice was clipped. She watched the bubbles in her tonic fizzle and die. “Things change.” “That they do.” Maeve’s gaze was steady, but her usual sharp humour was gone, replaced by a careful stillness. “Your dad still got the practice in Cardiff?” “Brendan’s well,” Rory said. “Still hammering the barrister routine. Mostly civil now.” “Civil. That’s a step up.” “It’s a step. You still at the gallery?” Maeve’s eyes flickered. “Left. I’m doing something different.” Rory felt a deep sense of wrongness. The Maeve she knew didn’t leave. She was the one who got left. Always the one who got left. “Different how?” Maeve swirled her gin. “I manage a property portfolio for a bloke in Chelsea. Bit of a shark, but pays well.” “You? Property management?” The words tasted wrong, even as Rory said them. “That’s… not you.” “It pays to adapt.” Maeve’s laugh was empty, a hollow, metallic sound. “He’s a collector, see. Art, cars, trouble. I sort the trouble before it gets to his doorstep.” There it was. The change. The ghost of the girl who’d once painted murals on the walls of abandoned warehouses was sitting in front of her, now someone who spoke of “trouble” with a cool, professional detachment. She was a fixer, a cleaner, not an artist. “So what are you now?” Maeve asked, her eyes sharpening. “A delivery driver, a philosophy student, a spy for the Americans?” “Not a spy. Not anything,” Rory said, the lie feeling small and inadequate. Maeve’s phone buzzed on the bar, a harsh, invasive sound. She glanced at the screen, her jaw tightening. “Family. Sorry.” “Do you need to take that?” Rory asked, the question a formality. “No. I need you to tell me why you were at the gallery that night. Not waiting for a cab like I said.” Rory’s breath hitched. The memory, sharp-edged and unwelcome, cut through the haze of the bar. The opening night. The bad lighting. The grey man in the grey suit whose work was all about “displacement” and “the void” but who reeked of old money and newer sins. Maeve had been there, pale and drawn in a corner, her usual spark extinguished. Rory had been so angry. So hurt. She’d said things. “I was there,” Rory admitted, her voice a low, rough whisper. “I saw you.” “I know you did. Your car was parked on the corner. The blue Ford Fiesta. You changed it for a grey one later. I watched you.” The confession, the admission of her secret surveillance, hit Rory like a slap. The betrayal was mutual, a knife they’d both been twisting for years. Maeve’s eyes were glassy and hard. She wasn’t just an old friend. She was a quiet threat. “You were watching me?” Rory asked, the question a whisper. “Five years, Rory. Five years I’ve been watching you. From a distance,” Maeve’s voice was raw. “You think I just vanished? I didn’t vanish. I was there. The whole time. I saw you in the crowd at my final show. I saw you leave.” Her voice cracked on the last word, the sound of a facade crumbling. “I heard what you told your mum. On the phone. That I was nothing but a liability.” The words hung in the air. An ugly, hard truth. Rory remembered the phone call, the frustration in her voice, the fear for her friend, her own tangled feelings. She hadn’t meant it. Or had she? Her jaw clenched against the rising tide of shame. “So what are you going to do?” Rory asked, her voice low. Maeve’s gaze was steady. “Nothing. I came here for a reason. To give you this.” She reached into her bag and pulled out a small, tarnished key. She placed it on the bar between them. “Silas Blackwood. Does the name ring a bell?” Rory’s blood ran cold. Silas. The Spymaster. The man who ran the bar, her landlord, the man who knew everyone and everything. “The owner,” Rory said, her voice a monotone. “The old spymaster,” Maeve corrected, a hint of her old self returning. “He’s in trouble. Or he’s about to be. This key goes to a deposit box at a bank on Fleet Street. I need you to get the contents. Don’t open it. Don’t let anyone see you. No matter what.” “Why me?” Rory asked, her mind racing. “Because it’s not just my life on the line, or his. It’s yours too,” Maeve said, her voice dropping to a conspiratorial whisper. “And you’re good at disappearing. Whatever name you go by. Whether it’s Carter or something else.” Rory looked at the key. It was cold and heavy, a burden she couldn’t refuse. Silas, the mentor, the mysterious benefactor she paid rent to. He was in danger. And Maeve, her former friend, the artist, the ghost, was the one asking her to act. The line between them was a wire, and she was standing on it. “What’s in the box?” Rory asked. “Something he needs. That’s all you need to know,” Maeve said, her voice flat, final. She finished her gin and set the glass down with a sharp click. “I’m staying in a flat near the British Museum. Don’t call. I’ll find you.” She slid off the stool and was gone, a shadow swallowed by the Soho twilight. Rory was left alone with the key. It was a weight in her pocket, a promise and a threat. She picked it up, its metal biting into her palm. Silas was in trouble. And Maeve, who saw everything, had given her the only way to fix it. And maybe, in the process, to bury the past they’d both been digging up. The neon sign hummed its electric, uncaring song. Rory closed her fist around the key, the metal biting into her palm, and turned as the door to the Raven’s Nest swung open again. Silas’s voice, low and sharp, cut through the air. He wasn’t alone.
created_at"2026-10-20T08:27:09.82Z" 10/20/2026, 8:27:09 AM
model"deepseek/deepseek-v4.1-flash-20261017"
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latency130
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generation_time18468
tokens_prompt4445
tokens_completion2642
native_tokens_prompt4210
native_tokens_completion2468
native_tokens_completion_images(null)
native_tokens_reasoning413
native_tokens_cached4096
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
num_fetches(null)
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is_byokfalse
finish_reason"stop"
native_finish_reason"stop"
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Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags27
adverbTagCount1
adverbTags
0"She smiled disarmingly [disarmingly]"
dialogueSentences61
tagDensity0.443
leniency0.885
rawRatio0.037
effectiveRatio0.033
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1420
totalAiIsmAdverbs0
found(empty)
highlights(empty)
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)
57.75% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1420
totalAiIsms12
found
0
word"tracing"
count1
1
word"silence"
count1
2
word"flickered"
count1
3
word"sense of"
count1
4
word"whisper"
count3
5
word"facade"
count1
6
word"jaw clenched"
count1
7
word"racing"
count1
8
word"weight"
count1
9
word"electric"
count1
highlights
0"tracing"
1"silence"
2"flickered"
3"sense of"
4"whisper"
5"facade"
6"jaw clenched"
7"racing"
8"weight"
9"electric"
33.33% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches3
maxInWindow3
found
0
label"blood ran cold"
count1
1
label"jaw/fists clenched"
count1
2
label"hung in the air"
count1
highlights
0"blood ran cold"
1"jaw clenched"
2"hung in the air"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences105
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences105
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences133
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
repeatedSegmentCount0
maxSentenceWordsSeen41
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1420
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions21
unquotedAttributions0
matches(empty)
0.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions71
wordCount928
uniqueNames9
maxNameDensity3.34
worstName"Rory"
maxWindowNameDensity5.5
worstWindowName"Rory"
discoveredNames
Carter1
Rory31
Raven2
Nest2
Dublin1
Silas6
Maeve26
Spymaster1
Soho1
persons
0"Carter"
1"Rory"
2"Raven"
3"Nest"
4"Silas"
5"Maeve"
places
0"Dublin"
1"Soho"
globalScore0
windowScore0
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences67
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1420
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences133
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs51
mean27.84
std21.6
cv0.776
sampleLengths
065
170
225
39
413
517
632
714
812
910
1027
1139
1210
1314
144
1511
1623
1729
1818
1927
2012
215
228
238
2428
2521
2615
2729
2846
2921
3013
3120
3212
3323
3470
3514
3626
3742
3810
3974
4045
4112
4243
4330
4451
457
4639
4758
486
4957
95.24% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences105
matches
0"was clipped"
1"was gone"
2"was gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs155
matches
0"was sitting"
1"was standing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences133
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount932
adjectiveStacks0
stackExamples(empty)
adverbCount15
adverbRatio0.016094420600858368
lyAdverbCount6
lyAdverbRatio0.006437768240343348
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences133
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences133
mean10.68
std7.67
cv0.718
sampleLengths
013
114
210
328
417
52
633
718
812
913
107
112
1213
1317
1421
1511
1614
174
188
198
202
2119
225
233
2416
257
2612
274
2810
294
3010
314
3211
3311
3412
358
3621
376
3810
392
4019
418
424
438
445
458
463
475
487
496
52.13% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats14
diversityRatio0.37593984962406013
totalSentences133
uniqueOpeners50
34.36% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences97
matches
0"Always the one who got"
ratio0.01
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount23
totalSentences97
matches
0"Her hair was shorter now,"
1"She caught Rory’s eye and"
2"His silver signet ring glinted."
3"She smiled, disarmingly"
4"She watched the bubbles in"
5"She was the one who"
6"She was a fixer, a"
7"She glanced at the screen,"
8"She’d said things."
9"She wasn’t just an old"
10"She was a quiet threat."
11"Her voice cracked on the"
12"She hadn’t meant it."
13"Her jaw clenched against the"
14"She reached into her bag"
15"She placed it on the"
16"It was cold and heavy,"
17"He was in danger."
18"She finished her gin and"
19"She slid off the stool"
ratio0.237
1.24% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount89
totalSentences97
matches
0"The gin and tonic was"
1"Aurora Carter, Rory to anyone"
2"The condensation soaked the cardboard,"
3"A figure detached from the"
4"Her hair was shorter now,"
5"She caught Rory’s eye and"
6"Maeve said, her Dublin accent"
7"Rory’s smile felt tight on"
8"Maeve said, sliding onto the"
9"Rory asked, signalling Silas"
10"Maeve’s gaze swept the bar,"
11"Rory said, the admission slipping"
12"Maeve’s eyebrows shot up."
13"Rory said, her voice flat"
14"Silas appeared, a ghost with"
15"His silver signet ring glinted."
16"Maeve turned, her expression softening"
17"She smiled, disarmingly"
18"Rory interjected, her tone flat"
19"Maeve’s smile didn’t waver."
ratio0.918
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences97
matches(empty)
ratio0
93.60% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences29
technicalSentenceCount2
matches
0"Her hair was shorter now, a sharp, black bob that framed her face, but she moved with the same long-limbed, liquid grace, her jeans and a simple dark shirt as u…"
1"The man who ran the bar, her landlord, the man who knew everyone and everything."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags27
uselessAdditionCount18
matches
0"Maeve said, her Dublin accent thicker than Rory remembered"
1"Rory said, the admission slipping out before she could stop it"
2"Rory said, her voice flat"
3"Rory interjected, her tone flat"
4"Maeve asked, the word hanging in the air between them"
5"Maeve asked, her eyes sharpening"
6"Rory said, the lie feeling small and inadequate"
7"Rory asked, the question a formality"
8"Rory admitted, her voice a low, rough whisper"
9"Rory asked, the question a whisper"
10"Her voice cracked on, the sound of a facade crumbling"
11"Rory asked, her voice low"
12"Rory said, her voice a monotone"
13"Maeve corrected, a hint of her old self returning"
14"Rory asked, her mind racing"
15"Maeve said, her voice dropping to a conspiratorial whisper"
16"Maeve said, her voice flat, final"
17"She slid, a shadow swallowed by the Soho twilight"
84.43% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags21
fancyCount4
fancyTags
0"Rory interjected (interject)"
1"Rory confirmed (confirm)"
2"Rory admitted (admit)"
3"Maeve corrected (correct)"
dialogueSentences61
tagDensity0.344
leniency0.689
rawRatio0.19
effectiveRatio0.131
78.4024%