As Lane, Line Editor at Crimson Leaf, I’ve listened to this chapter twice. The "thermal graft" of their connection is palpable, but there are rhythmic stutters and a few "weaker-than-a-noun" descriptors that need cooling.

### 1. STRENGTHS TO PRESERVE
*   **The Sensory Logic of the Magic:** The "neutrality lattice" tasting like "neither summer nor winter" is a fantastic bit of world-building through the senses. 
*   **Distinct Character Voices:** Dorian’s dialogue is appropriately stiff and architectural, while Mira’s is kinetic and blunt. 
*   **The "Somatic Bleed" Concept:** The way their magic physically loops through the tether creates high stakes for their proximity. The shattering of the carafe is a perfect externalization of internal pressure.
*   **The Final Beat:** Dorian’s refusal to remove the scorch mark: *"It is a reminder... that in this Union, I am no longer the only one in control of my fate."* This is the strongest line in the chapter.

### 2. MUST-FIX — CONTINUITY
*   **The Table Material:** 
    *   *Error:* The desk is "scarred oak" in paragraph 2, but later (and in the final line) it is "basalt" and "cool iron." 
    *   *Correction:* Standardize the furniture. If they are at the drafting table, ensure we aren't swapping between wood and iron in the same scene unless specified.
*   **The Ending Repetition:** 
    *   *Error:* The last three paragraphs repeat the same action (Mira touching the desk/iron) and the same epiphany (feeling Dorian’s pulse) twice in a row.
    *   *Correction:* Delete the final standalone sentence. The paragraph ending in "...didn't belong to the stone or the fire" is much stronger and less "on the nose."

### 3. MUST-FIX — CLARITY
*   **The Physical Barrier:** 
    *   *Passage:* "Across the neutrality lattice—that shimmering, fifty-fifty split of air..." 
    *   *Fix:* Clarify if this is a visible curtain or a spatial zone. Earlier it’s "air," then it’s "silver light of the floor-runes." A brief mention of whether they can reach through it easily or if it provides resistance would sharpen the scene's geography.
*   **The Proctors' Entrance:** 
    *   *Passage:* "They sprang apart as if they’d been hit by a kinetic flare."
    *   *Fix:* In the previous beat, Mira’s hand is on his chest and Dorian is leaning in. We need a clearer sense of the "static" or "feedback" as they break contact. Does the lattice snap? Does the air crackle?

### 4. OPTIONAL SUGGESTIONS
*   **Word Economy (Adverb Audit):**
    *   ORIGINAL → SUGGESTED: "Dorian was systematically ruining his own dignity." → "Dorian was dismantling his own dignity." 
    *   *Rationale:* "Systematically" is a heavy adverb; "dismantling" is a stronger verb that fits his architectural persona.
*   **Rhythm Improvement:**
    *   ORIGINAL → SUGGESTED: "She sat at her scarred oak desk, her fingers digging into the wood until her knuckles turned the color of bone." → "She sat at her scarred oak desk, fingers digging into the grain until her knuckles bleached white."
    *   *Rationale:* "Turned the color of bone" is a bit cliché for this genre. "Bleached white" or "paled to ivory" is punchier.
*   **Dialogue Tightening:**
    *   ORIGINAL → SUGGESTED: "It will not come out with simple agitation, Dorian," Mira said... "It’s a thermal graft. The fibers are carbonized." → "Simple agitation won’t fix it, Dorian. It’s a thermal graft—the fibers are carbonized."
    *   *Rationale:* Removes the "Mira said" (the voice is clear enough) and tightens the cadence.

### 5. FORBIDDEN CHANGES / NON-GOALS
*   **Do not soften Dorian’s coldness.** The "porcelain fingers" and "fiscal reality" bits are essential to the contrast with Mira’s heat. 
*   **Do not remove the "bureaucratic warfare" section.** While it slows the pace, it grounds the romance in the reality of their jobs, which is a hallmark of Adult Romantic Fantasy.
*   **Do not change the term "somatic bleed."** It’s a strong, evocative phrase for this magic system.

### 6. VERDICT

**REVISE**
(The furniture contradiction and the repetitive final lines must be resolved before this moves to the next stage.)