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8 chapters from headings. Action or dialogue ranges from 29% to 65% of a chapter, highest in Chapter VIII.
Share of each chapter that is action or dialogue, rather than summary
Mary, the most-mentioned, appears in 8 of 8 chapters.
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How much of each chapter is scene against summary, where that thins or spikes, chapter length against the book’s own norm, and whether the cast persists.
Judged for the passage it sits in. A long sentence in a reflective stretch is measured against your other reflective stretches, not a fixed number.
Grammar rules written for fiction: the subjunctive, speech cadence and dialect are not errors, and a doubled object is grammar.
Editorial reading that explains the why behind the numbers, grounded in your chapters and always marked as advice. It never changes a score.
The air tasted like ash, and Narubi watched the skyline burn. She had survived worse, but this felt different.
It wasn’t just a city falling.
It was a choice.
“This felt different” names the feeling instead of letting the reader find it. The image before it, ash and a burning skyline, is doing the work; consider what Narubi does with her hands, her breath, her attention.
Interpretation, not measurement. Your scores are unchanged.Genre changes what good writing looks like. A self-help book is not judged against fiction goals, a thriller is not asked to slow down, and the left rail tells you what a reader of your genre comes for.
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