Run: 2026-02-19-01KHT0M128B1TGW1JRPGCZE655

Run Details

Duration:
14.4s
Cost:
$0.007682
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
A sharp rap echoed through the cramped flat, startling Ptolemy into an indignant hiss. Rory, halfway through wrestling a particularly stubborn jar of pickled onions, dropped it with a clang. "Who in the blazes?" she muttered, wiping brine from her fingers on a dishtowel. She glanced at the clock on the microwave. Past ten. Eva was out with that new bloke from her coven; no one else usually came calling this late. The three deadbolts on the front door offered little comfort against the prickle of unease working its way up her spine. Another series of insistent knocks, louder this time. She peered through the peephole. A tall, elegant silhouette filled the lens, framed by the dim glow of the landing light. Platinum blond hair, slicked back. An ivory-handled cane rested against the doorframe. Her breath hitched. "Lucien." The name left her lips in a whisper, a ghost from a past she had tried, with valiant effort, to bury. She unlatched the deadbolts, one by laborious one. Each click seemed to reverberate like a gunshot in the sudden silence of the flat. The door swung inward, revealing Lucien Moreau. He stood there, impeccably dressed as always in a tailored charcoal suit, his heterochromatic gaze – one amber, one black – sweeping over her, lingering for a fraction too long. "Rory." His voice, a low rumble with its familiar French cadence, sent a shiver down her arm. The scar on her left wrist, a small crescent from a childhood accident, suddenly throbbed. "What do you want?" Her tone was sharper than she intended, laced with a bitterness that tasted metallic on her tongue. He offered a slight, almost imperceptible tilt of his head. "A simple inquiry, *chérie*." "Don't call me that." The words were out before she could stop them. "What inquiry? It's gone ten. Eva's not here." "I am not here for Eva." His eyes, those mismatched pools, deepened, fixing on her with an intensity that made her skin prickle. "I am here for you." Panic fluttered in her chest. "I need nothing from you, Lucien." She tried to close the door, but his cane, with a swift, elegant movement, blocked her path. Its ivory handle gleamed in the dim light. "Is that so?" He pushed the door open further, stepping across the threshold without an invitation. The faint scent of expensive cologne and something subtly earthy, undeniably demon, filled the small space. Ptolemy, previously a brave feline warrior against the pickled onion jar, vanished under a mountain of research notes. "You can't just barge in." Her voice wavered, betraying the calm she desperately tried to project. He turned, surveying the cramped living room, his gaze lingering on the stacks of books and scrolls that threatened to spill from every surface. "An admirer of the occult now, are we?" A sardonic curve played on his lips. "Or merely researching for a particularly complex delivery?" "It's none of your business." She crossed her arms, trying to appear defiant, though her heart hammered against her ribs. "What do you want?" "A name." He moved deeper into the room, his stride fluid, silent. "Malphora." The air in the room suddenly grew heavy, oppressive. Rory’s blood ran cold. The name, whispered only in hushed tones between trusted few, felt like a physical blow. "I don't know what you're talking about." She felt a dull fear coiling in her gut. How did he know that name? He stopped a foot in front of her, forcing her to tilt her chin to meet his gaze. Despite his slender build, he exuded a dangerous, feral power. "Do you truly believe I have lost my touch, *petite* Rory?" He reached out, his long fingers a hair's breadth from her face, tracing an invisible line along her jaw. A spark, a phantom tingle, prickled her skin. "I *always* know." She stepped back, distancing herself from his touch. "Get out." "Once I have my answer." He maintained a calm, unnerving composure. "Who is she?" "She's nobody." Rory swallowed hard, her throat suddenly dry. "I haven't seen her in years." "That is not what my sources tell me." His tone remained even, soft, yet it carried an undeniable threat. "My sources indicate you were present, a mere fortnight ago, at a gathering. A rather... clandestine gathering. Where Malphora was the guest of honour." A memory, sharp and unwelcome, flashed through her mind: a smoky room, hushed whispers, and the chilling presence of Malphora, a name whispered with reverence and dread in the supernatural underbelly. She had only been there to deliver a package for Yu-Fei, a discreet job, nothing more. A shiver ran down her spine. "I delivered an order." She spat the words out, trying to sound dismissive. "That's it." "And you saw her." It wasn't a question. She hesitated, her gaze darting to the floor, then back to his piercing eyes. "Yes. Brief. She was giving a speech." "A speech." Lucien's lips curved into something that was not a smile. "On what, pray tell? The benefits of organic produce?" "Something about... reclaiming power." The memory gnawed at her. Malphora's voice, silken and hypnotic, had promised a new era, an uprising. It had felt intoxicating, dangerous. "And you believed her?" He watched her, dissecting her every twitch, every flicker of emotion. "It's not about belief." She threw her hands up in exasperation. "I just delivered a parcel. I left. That's all there is to it." "There is always more to it." He took another step closer, forcing her against the overflowing bookshelf. The smell of old paper and dust mingled with his powerful scent. "Malphora is... significant, Rory. Dangerous. And she is looking for something. Or someone." "So? Why come to me?" Her voice came out choked. "Because you have a knack for finding things, *ma chère*. And a knack for getting into trouble. A rather charming combination, wouldn't you agree?" His hand brushed her shoulder, his touch light, possessive. "Perhaps that is why I find myself so... drawn to you." She stiffened, a volatile mix of anger and something she couldn't name swirling inside her. "I am not interested in your games, Lucien." "Games?" He chuckled, a low, husky sound that echoed in the small space. "This is no game, Rory. This is survival. Malphora seeks an item of immense power. And she believes you know where it is." "Me? That's insane." Her mind raced, desperately trying to comprehend his words. An item of power? What could Malphora possibly want that she, Rory, would be connected to? "Is it?" His gaze sharpened, burning into her. "You have a certain... resonance, Rory. A unique quality. A human who walks effortlessly between worlds, who sees what others do not. You have always been... special." The word, "special," felt like a brand. She hated it. She hated that he could see through her, past her carefully constructed walls, to the raw vulnerability beneath. "I'm just a delivery driver." She tried to push past him, but he blocked her way, his presence a solid, unyielding wall. "A simple façade for a woman of many hidden depths." He leaned in, his voice dropping to a near whisper. "Tell me what you know, Rory. Where is she looking? What is she after?" "I don't know." The lie felt brittle, ready to shatter. His eyes, one amber, one black, narrowed. His jaw tightened. "I would advise against lying to me, Rory. It rarely ends well. For anyone involved." His voice hardened, losing its earlier seductive edge. "People tend to disappear when they withhold vital information from me." A cold dread seeped into her bones. She met his stare, defiance warring with a primal fear. "I told you, I was just there for a delivery." He paused, a long, drawn-out moment of silence stretching between them, thick with unspoken threats. His gaze dropped to her left wrist, to the faint crescent-shaped scar. He reached out, his thumb tracing the pale line. The touch sent a jolt through her, a familiar, unwelcome spark. "You have always been resilient, *ma belle*. But even the strongest can break." He looked up, his eyes now unreadable. "Malphora is a force of nature. And she wants you." "Why?" The word was barely a whisper. "Because you are the key, Rory. The key to something she desperately desires. And if I do not find you first... if I do not protect you..." He trailed off, the implicit threat hanging in the air. "Her methods are far less refined than mine." The words sent a fresh wave of terror through her. Malphora. Key. Protection. It was too much, too fast. She felt trapped, caught between two dangerous predators. "And you? You're here to save me?" The sarcasm was thick in her voice. He took another step back, creating a sliver of space between them. His hand dropped from her wrist, the warmth lingering on her skin. "Let us say I am here to prevent a rather significant inconvenience to my own operations." A glint, almost predatory, entered his amber eye. "And perhaps, to ensure you do not make a grave mistake." "What mistake?" "Aligning yourself with the wrong side. Or rather, allowing the wrong side to claim you." He turned, his gaze sweeping over the haphazard piles of books once more. "This is not your fight, Rory. Yet it seems to have found you, regardless." He reached into the inner pocket of his charcoal jacket and pulled out a small, intricately carved wooden bird. He placed it on a precarious stack of books. "A gift," he said, his voice flat. "Or, perhaps, a reminder. Should you require my... assistance." The bird, dark and unnervingly lifelike, seemed to stare at her with tiny, obsidian eyes. It felt like a warning, a promise, and a tether all at once. Rory stared at it, a knot of icy dread tightening in her stomach. Lucien reached the door, paused, and looked back at her, his eyes unblinking. "Think carefully, Rory. Malphora does not take no for an answer. And neither, I assure you, do I." He opened the door, stepping out onto the landing. Before she could process his words, before she could even form a coherent thought, a sharp clang echoed from the street below. A choked cry. Followed by the screech of tyres. Lucien's head snapped around, his features suddenly drawn, his eyes narrowed into slits of intense focus. He glanced down the stairwell, then back at Rory, a grim resolve now etched on his face. "Stay here." The command was sharp, absolute. He moved, not with his usual elegant stride, but with a sudden, alarming speed down the creaking wooden stairs, his cane tapping a rapid, urgent rhythm. Rory stood frozen in her doorway, the wooden bird a chilling weight on the bookshelf, the scent of expensive cologne still lingering in the air. The sounds from the street grew louder, more frantic. A woman's scream, undeniably human. A deep, guttural growl, undeniably not.
created_at"2026-02-19T03:55:39.484Z" 2/19/2026, 3:55:39 AM
model"google/gemini-2.5-flash"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency342
moderation_latency(null)
generation_time14303
tokens_prompt4556
tokens_completion2796
native_tokens_prompt4440
native_tokens_completion2540
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"
usage0.007682
router(null)
provider_responses
0
endpoint_id"16c01e26-9b91-4d22-b487-ed35634b017d"
is_byokfalse
latency342
model_permaslug"google/gemini-2.5-flash"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1771473339-DBBccSBVFj556pb5i33O"
upstream_id(null)
total_cost0.007682
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
totalTags37
adverbTagCount1
adverbTags
0"Her mind raced desperately [desperately]"
dialogueSentences72
tagDensity0.514
leniency1
rawRatio0.027
effectiveRatio0.027
80.87% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1830
totalAiIsmAdverbs7
found
0
adverb"suddenly"
count4
1
adverb"truly"
count1
2
adverb"carefully"
count2
highlights
0"suddenly"
1"truly"
2"carefully"
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)
0.00% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1830
totalAiIsms38
found
0
word"echoed"
count3
1
word"whisper"
count3
2
word"silence"
count2
3
word"familiar"
count2
4
word"throbbed"
count1
5
word"intensity"
count1
6
word"fluttered"
count1
7
word"wavered"
count1
8
word"complex"
count1
9
word"oppressive"
count1
10
word"tracing"
count2
11
word"clandestine"
count1
12
word"chilling"
count2
13
word"down her spine"
count1
14
word"flicker"
count1
15
word"raced"
count1
16
word"resonance"
count1
17
word"constructed"
count1
18
word"depths"
count1
19
word"unspoken"
count1
20
word"unreadable"
count1
21
word"warmth"
count1
22
word"glint"
count1
23
word"ensure"
count1
24
word"grave"
count1
25
word"reminder"
count1
26
word"stomach"
count1
27
word"resolve"
count1
28
word"etched"
count1
29
word"weight"
count1
highlights
0"echoed"
1"whisper"
2"silence"
3"familiar"
4"throbbed"
5"intensity"
6"fluttered"
7"wavered"
8"complex"
9"oppressive"
10"tracing"
11"clandestine"
12"chilling"
13"down her spine"
14"flicker"
15"raced"
16"resonance"
17"constructed"
18"depths"
19"unspoken"
20"unreadable"
21"warmth"
22"glint"
23"ensure"
24"grave"
25"reminder"
26"stomach"
27"resolve"
28"etched"
29"weight"
33.33% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches5
maxInWindow3
found
0
label"shiver down spine"
count1
1
label"blood ran cold"
count1
2
label"eyes widened/narrowed"
count1
3
label"sent a shiver through"
count2
highlights
0"A shiver ran down her spine"
1"blood ran cold"
2"eyes narrowed"
3"sent a shiver down"
4"sent a jolt through"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences118
matches(empty)
70.22% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount5
narrationSentences118
filterMatches
0"know"
hedgeMatches
0"seemed to"
1"tried to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences147
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen37
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans5
markdownWords7
totalWords1828
ratio0.004
matches
0"chérie"
1"petite"
2"always"
3"ma chère"
4"ma belle"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions16
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions21
wordCount1278
uniqueNames8
maxNameDensity0.55
worstName"Rory"
maxWindowNameDensity1.5
worstWindowName"Rory"
discoveredNames
Ptolemy2
Lucien4
Moreau1
French1
Panic1
Rory7
Malphora4
Yu-Fei1
persons
0"Lucien"
1"Moreau"
2"Panic"
3"Rory"
4"Malphora"
places(empty)
globalScore1
windowScore1
73.47% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences98
glossingSentenceCount3
matches
0"felt like a physical blow"
1"felt like a brand"
2"felt like a warning, a promise, and a t"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.547
wordCount1828
matches
0"not with his usual elegant stride, but with a sudden, alarming speed down the creaking wooden stair"
98.64% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount3
totalSentences147
matches
0"know that name"
1"want that she"
2"hated that he"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs73
mean25.04
std14.66
cv0.585
sampleLengths
030
163
244
322
460
532
621
710
84
921
1028
115
1231
1332
1418
1516
1624
1723
1824
1913
2028
2122
2228
2341
248
252
2614
2715
2843
2953
3015
318
3214
337
3421
3526
3615
3724
3842
3910
4044
4115
428
4336
4428
4535
4628
4722
4834
4910
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences118
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs213
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount2
semicolonCount1
flaggedSentences2
totalSentences147
ratio0.014
matches
0"Eva was out with that new bloke from her coven; no one else usually came calling this late."
1"He stood there, impeccably dressed as always in a tailored charcoal suit, his heterochromatic gaze – one amber, one black – sweeping over her, lingering for a fraction too long."
88.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1280
adjectiveStacks2
stackExamples
0"black – sweeping over her,"
1"faint crescent-shaped scar."
adverbCount47
adverbRatio0.03671875
lyAdverbCount22
lyAdverbRatio0.0171875
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences147
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences147
mean12.44
std7.34
cv0.59
sampleLengths
014
116
214
38
42
518
621
78
85
916
105
117
123
1322
148
1515
167
1730
1817
1915
2021
2110
224
2313
248
2523
265
275
2823
298
3016
3116
3218
3316
3424
3515
368
3720
384
3912
401
419
424
4315
4416
456
4618
4710
4830
498
58.96% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats5
diversityRatio0.3741496598639456
totalSentences147
uniqueOpeners55
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences114
matches(empty)
ratio0
2.46% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount62
totalSentences114
matches
0"she muttered, wiping brine from"
1"She glanced at the clock"
2"She peered through the peephole."
3"Her breath hitched."
4"She unlatched the deadbolts, one"
5"He stood there, impeccably dressed"
6"His voice, a low rumble"
7"Her tone was sharper than"
8"He offered a slight, almost"
9"His eyes, those mismatched pools,"
10"She tried to close the"
11"Its ivory handle gleamed in"
12"He pushed the door open"
13"Her voice wavered, betraying the"
14"He turned, surveying the cramped"
15"She crossed her arms, trying"
16"He moved deeper into the"
17"She felt a dull fear"
18"He stopped a foot in"
19"He reached out, his long"
ratio0.544
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount109
totalSentences114
matches
0"A sharp rap echoed through"
1"Rory, halfway through wrestling a"
2"she muttered, wiping brine from"
3"She glanced at the clock"
4"Eva was out with that"
5"The three deadbolts on the"
6"Another series of insistent knocks,"
7"She peered through the peephole."
8"A tall, elegant silhouette filled"
9"Platinum blond hair, slicked back."
10"An ivory-handled cane rested against"
11"Her breath hitched."
12"The name left her lips"
13"She unlatched the deadbolts, one"
14"Each click seemed to reverberate"
15"The door swung inward, revealing"
16"He stood there, impeccably dressed"
17"His voice, a low rumble"
18"The scar on her left"
19"Her tone was sharper than"
ratio0.956
43.86% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences114
matches
0"Before she could process his"
ratio0.009
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences40
technicalSentenceCount2
matches
0"He turned, surveying the cramped living room, his gaze lingering on the stacks of books and scrolls that threatened to spill from every surface."
1"He moved, not with his usual elegant stride, but with a sudden, alarming speed down the creaking wooden stairs, his cane tapping a rapid, urgent rhythm."
16.89% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags37
uselessAdditionCount8
matches
0"He moved, his stride fluid, silent"
1"Rory swallowed, her throat suddenly dry"
2"She spat, trying to sound dismissive"
3"His hand brushed, his touch light, possessive"
4"He leaned in, his voice dropping to a near whisper"
5"The lie felt, ready to shatter"
6"He trailed, the implicit threat hanging in the air"
7"he said, his voice flat"
94.44% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags5
fancyCount4
fancyTags
0"she muttered (mutter)"
1"He maintained (maintain)"
2"She spat (spit)"
3"He chuckled (chuckle)"
dialogueSentences72
tagDensity0.069
leniency0.139
rawRatio0.8
effectiveRatio0.111
75.3714%