Run: 2026-02-19-01KHT076WG9Y1HAWP31NPAN83F

Run Details

Duration:
10.6s
Cost:
$0.006137
Provider:
Google AI Studio

Model input

System
You are an expert and award-winning novel writer in the dark Romance 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="4415" name="Lucien Moreau" aliases="Lucien, Luc, the Frenchman" pronouns="he/him" species="Half-Demon" storyRole="Ally"> <eyeColor>heterochromatic — one amber, one black</eyeColor> <hair>slicked-back platinum blond</hair> <height>5'11"</height> <age>32</age> <cane>ivory-handled cane that conceals a thin blade</cane> <dress>tailored charcoal suits</dress> <description>An impeccably dressed fixer and information broker in London's supernatural underworld. He speaks four languages fluently.</description> <backstory>Born in Marseille to a human mother and a demon father from the realm of Avaros.</backstory> </character> <location id="858" name="Eva's Flat" aliases="Eva's place, the flat on Brick Lane" realm="Earth"> <cat>tabby cat named Ptolemy</cat> <security>three deadbolts on the front door</security> <description>A cramped one-bedroom flat above a curry house on Brick Lane, East London. Every surface is covered with books, scrolls, and research notes.</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 romance genre. Two people who parted on complicated terms are forced together again when one shows up unannounced at the other's flat. There's history between them — attraction, hurt, and things left unsaid. Write the scene from the moment the door opens. 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
Rory gripped the doorframe, knuckles white. The figure silhouetted against the dim hall light was unmistakable, even after all this time. Broad shoulders, the familiar tailored charcoal suit, and the glint of platinum blond hair. "Lucien." The name felt foreign on her tongue, a ghost from a life she had tried to bury. He offered a slight, almost imperceptible smile. One amber eye, one black, fixed on her. "Malphora." A tremor ran through her. Only he, and a select few from her past, used that name. "What are you doing here?" Her voice came out sharper than she intended. She remembered the three deadbolts on Eva's flat, a security measure usually reserved for more... corporeal threats. "A simple visit, no?" He gestured vaguely with his ivory-handled cane. "Just passing through the lovely Brick Lane, and thought I would check on an old friend." His gaze swept over her, a slow, deliberate appraisal that made her skin prickle. "We are not friends, Lucien." She pulled the door open wider, but only enough for him to see her face. Not enough for him to invite himself in. "And you don't 'just pass through'." "Indeed." His smile widened, a flash of an almost predatory gleam. "I have a purpose, as always." He leaned against the doorframe, his presence filling the cramped hallway, the scent of expensive cologne and something subtly earthy, undeniably otherworldly, invading her space. "May I come in, or shall we conduct our… reunion, in the hallway?" Rory hesitated, her mind racing. The last time she saw him, it was in a chaotic flurry of arcane energy and desperate goodbyes. Now, here he stood, calmly requesting entry into Eva's crowded flat, a place of safety. Ptolemy, Eva's tabby cat, rubbed against her ankles, a soft purr vibrating through the floorboards. She glanced over her shoulder at the stacks of books and scrolls that covered every surface in the flat, the detritus of Eva's relentless research. This was not a place for Lucien Moreau. This was not his world. "What do you want?" she asked, her voice low. "Patience, *chérie*." He pushed off the doorframe, taking a step closer, and Rory instinctively stepped back, allowing him just enough room to cross the threshold. Her heart hammered against her ribs. She couldn't very well slam the door in his face now. Not without causing a scene, and Brick Lane landlords had enough to complain about. He moved with an unsettling grace, his gaze darting around the small living room, taking in every detail. His lips curved upwards, a hint of amusement playing there. "Still surrounded by… the intellectual pursuit of the arcane, I see." He tapped his cane lightly against a precarious stack of worn leather-bound tomes. "It's Eva's flat," Rory said, defending her friend's space. "And it's none of your business." He turned to face her fully, his heterochromatic eyes searching hers. "Still as fierce as I remember, then." He took another step, closing the small distance between them, and Rory had to crane her neck slightly to meet his gaze. She was 5'6", but he loomed over her, a solid, unsettling presence. His scent was stronger now, a disorienting mix of old parchment and something metallic, like rain on ancient stone. "What do you want, Lucien?" she repeated, her voice betraying a hint of the tremor running through her. "A simple conversation, Malphora." He extended a hand, his long, elegant fingers brushing against her cheek, sending an electric jolt through her. She flinched, pulling back abruptly. His hand dropped, but his gaze remained locked on hers, the amber eye glinting. "Still quick to shy away." "You have no right to touch me," she snapped, feeling a flush creep up her neck. "No right?" A low chuckle rumbled in his chest, a sound that sent shivers down her spine. "I thought we had moved beyond such trivialities, you and I." "We moved beyond anything a long time ago," Rory countered, her voice firm, despite the knot in her stomach. "When you left." His smile faded, replaced by something unreadable. "Circumstances, Malphora." "Always circumstances with you." She crossed her arms, a futile attempt to create a barrier between them. "I'm not interested in revisiting old wounds, Lucien." "And I am not here to open them." He walked deeper into the room, his movements fluid and silent. He paused by a cluttered bookshelf, his fingers trailing over a dusty spine. "Though, I confess, you left quite an impression." Rory watched him, every muscle tensed. He was too calm, too collected. This wasn't a social call. Not with him. She remembered his past, a tapestry woven with dark deals and supernatural skirmishes. Lucien Moreau didn't just 'pop in'. "Get to the point," she urged. He picked up a small, intricately carved wooden figurine from the shelf, turning it over in his hand. "I need your assistance." Rory scoffed. "My assistance? With what? Finding a misplaced soul? Brokering a peace treaty between rogue fae and disgruntled ghouls?" A flicker of annoyance crossed his face. "This is not a jest, Malphora." "My name is Rory." "I am aware of your chosen moniker. However, there are times when one must embrace their true nature." He placed the figurine back precisely where he found it. "A certain... item, has gone missing. And it is pertinent to the stability of certain… delicate agreements." "And what does that have to do with me?" She knew, even as she asked, that he wouldn't be here if it didn't involve her in some way. "You have a unique talent, Malphora. A way of seeing things others do not. A knack for finding what is lost, even when it wishes to remain hidden." He turned to face her again, his eyes intense. "And you owe me a favour." The words hung in the air, heavy with unspoken history. The memory of a moonless night in a forgotten alleyway surged through her, the acrid smell of ozone and the taste of fear in her mouth. She owed him, yes. She had called upon his specific brand of expertise once, a lifetime ago, and he had delivered. At a steep price. One she had hoped never to collect. "I paid that debt," she said, her voice strained. "I thought we were even." "Debts to me are rarely simple transactions, Malphora. They are… investments." He took another step towards her, and this time, she held her ground, refusing to back away. The faint scar on her left wrist, from a childhood accident, tingled beneath her skin. "I protected you once. Now, I require you to protect something in return." "What 'item' are you talking about?" He reached into the inner pocket of his charcoal suit jacket, extracting a small, ornately carved wooden box. It was dark, polished to a high sheen, with silver filigree curling around its edges. He opened it with a practiced flick of his thumb, revealing a single, iridescent feather nestled within. It shimmered with an otherworldly light, shifting colours even in the dim light of the flat. Rory felt a cold dread wash over her. She knew that feather. Knew the stories. "The feather of the last Harpy of Avaros," she whispered, her voice barely audible. "Indeed." He closed the box. "It was stolen from me, a week ago. And I suspect the thief intends to use it for… less than savoury purposes." His focus sharpened, his gaze boring into her. "I need you to recover it." "Why me?" "Because," he said, stepping close enough for her to feel the warmth radiating from him, "the warding placed upon it can only be bypassed by one born on a specific alignment of stars, with a certain… lineage. A lineage you share." Rory stared at him, her mind reeling. He knew. He had always known more than he let on. The implication of his words hung between them, a silent accusation of secrets kept and truths revealed. He wasn't just here for a favour. He was here because he understood something fundamental about her, something she had tried to keep buried. "What do I get in return?" she asked, her voice steady despite the turmoil inside her. His lips curved into that unsettling, knowing smile. "My continued protection, *chérie*. And perhaps, a few answers to some long-standing questions." He paused, his gaze dropping to her throat, then back up to her eyes. "Unless, of course, you would prefer to face the consequences alone."
created_at"2026-02-19T03:48:39.462Z" 2/19/2026, 3:48:39 AM
model"google/gemini-2.5-flash"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency586
moderation_latency(null)
generation_time10535
tokens_prompt4556
tokens_completion2130
native_tokens_prompt4440
native_tokens_completion1922
native_tokens_completion_images0
native_tokens_reasoning0
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"STOP"
usage0.006137
router(null)
provider_responses
0
endpoint_id"16c01e26-9b91-4d22-b487-ed35634b017d"
is_byokfalse
latency586
model_permaslug"google/gemini-2.5-flash"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1771472919-Pc3cZrWhLmATZNNj3tbW"
upstream_id(null)
total_cost0.006137
cache_discount(null)
upstream_inference_cost0
provider_name"Google AI Studio"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags36
adverbTagCount1
adverbTags
0"He gestured vaguely [vaguely]"
dialogueSentences52
tagDensity0.692
leniency1
rawRatio0.028
effectiveRatio0.028
85.83% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1411
totalAiIsmAdverbs4
found
0
adverb"very"
count1
1
adverb"lightly"
count1
2
adverb"slightly"
count1
3
adverb"precisely"
count1
highlights
0"very"
1"lightly"
2"slightly"
3"precisely"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
36.22% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1411
totalAiIsms18
found
0
word"familiar"
count1
1
word"glint"
count1
2
word"otherworldly"
count2
3
word"racing"
count1
4
word"chaotic"
count1
5
word"loomed"
count1
6
word"electric"
count1
7
word"glinting"
count1
8
word"sent shivers down"
count1
9
word"stomach"
count1
10
word"unreadable"
count1
11
word"tapestry"
count1
12
word"flicker"
count1
13
word"unspoken"
count1
14
word"shimmered"
count1
15
word"warmth"
count1
16
word"implication"
count1
highlights
0"familiar"
1"glint"
2"otherworldly"
3"racing"
4"chaotic"
5"loomed"
6"electric"
7"glinting"
8"sent shivers down"
9"stomach"
10"unreadable"
11"tapestry"
12"flicker"
13"unspoken"
14"shimmered"
15"warmth"
16"implication"
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
narrationSentences78
matches(empty)
87.91% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount3
narrationSentences78
filterMatches(empty)
hedgeMatches
0"tried to"
1"tends to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences88
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen68
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans2
markdownWords2
totalWords1408
ratio0.001
matches
0"chérie"
1"chérie"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions15
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions20
wordCount1005
uniqueNames6
maxNameDensity1
worstName"Rory"
maxWindowNameDensity2
worstWindowName"Eva"
discoveredNames
Eva4
Rory10
Lucien2
Moreau2
Brick1
Lane1
persons
0"Eva"
1"Rory"
2"Lucien"
3"Moreau"
places(empty)
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences60
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1408
matches(empty)
15.15% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount4
totalSentences88
matches
0"used that name"
1"scrolls that covered"
2"asked, that he"
3"knew that feather"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs43
mean32.74
std21.03
cv0.642
sampleLengths
053
116
247
341
434
555
691
79
856
952
1015
1171
1218
1327
1419
1516
1628
1722
189
1925
2040
2139
226
2322
2420
2513
264
2745
2828
2943
3068
3114
3256
336
3466
3515
3614
3741
382
3941
4059
4116
4246
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences78
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs182
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences88
ratio0
matches(empty)
93.61% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount794
adjectiveStacks1
stackExamples
0"worn leather-bound tomes."
adverbCount32
adverbRatio0.04030226700251889
lyAdverbCount16
lyAdverbRatio0.020151133501259445
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences88
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences88
mean16
std13.24
cv0.827
sampleLengths
06
115
214
318
47
58
61
75
812
913
1015
112
1211
1330
1420
158
166
1711
1831
1913
205
2118
2215
2315
2425
258
265
279
2825
296
3011
3114
3218
3310
3424
359
366
3711
3829
3931
4018
4127
4219
4316
4428
4522
469
4725
4840
4939
82.95% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats2
diversityRatio0.5113636363636364
totalSentences88
uniqueOpeners45
47.62% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences70
matches
0"Only he, and a select"
ratio0.014
25.71% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount34
totalSentences70
matches
0"He offered a slight, almost"
1"Her voice came out sharper"
2"She remembered the three deadbolts"
3"He gestured vaguely with his"
4"His gaze swept over her,"
5"She pulled the door open"
6"His smile widened, a flash"
7"He leaned against the doorframe,"
8"She glanced over her shoulder"
9"she asked, her voice low"
10"He pushed off the doorframe,"
11"Her heart hammered against her"
12"She couldn't very well slam"
13"He moved with an unsettling"
14"His lips curved upwards, a"
15"He tapped his cane lightly"
16"He turned to face her"
17"He took another step, closing"
18"she repeated, her voice betraying"
19"He extended a hand, his"
ratio0.486
60.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount56
totalSentences70
matches
0"Rory gripped the doorframe, knuckles"
1"The figure silhouetted against the"
2"The name felt foreign on"
3"He offered a slight, almost"
4"A tremor ran through her."
5"Her voice came out sharper"
6"She remembered the three deadbolts"
7"He gestured vaguely with his"
8"His gaze swept over her,"
9"She pulled the door open"
10"His smile widened, a flash"
11"He leaned against the doorframe,"
12"Rory hesitated, her mind racing."
13"The last time she saw"
14"Ptolemy, Eva's tabby cat, rubbed"
15"She glanced over her shoulder"
16"This was not a place"
17"This was not his world."
18"she asked, her voice low"
19"He pushed off the doorframe,"
ratio0.8
100.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount3
totalSentences70
matches
0"Now, here he stood, calmly"
1"However, there are times when"
2"Now, I require you to"
ratio0.043
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences18
technicalSentenceCount1
matches
0"He reached into the inner pocket of his charcoal suit jacket, extracting a small, ornately carved wooden box. It was dark, polished to a high sheen, with silver…"
41.67% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags30
uselessAdditionCount5
matches
0"His smile widened, a flash of an almost predatory gleam"
1"she asked, her voice low"
2"she said, her voice strained"
3"she whispered, her voice barely audible"
4"she asked, her voice steady despite the turmoil inside her"
73.08% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags9
fancyCount4
fancyTags
0"she repeated (repeat)"
1"she snapped (snap)"
2"she urged (urge)"
3"she whispered (whisper)"
dialogueSentences52
tagDensity0.173
leniency0.346
rawRatio0.444
effectiveRatio0.154
84.9915%