Run: 2026-02-19-01KHTR6EJBN2XGTE9ABBPX0BGJ

Run Details

Duration:
29.5s
Cost:
$0.001573
Provider:
NextBit

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 door swung open and Rory stumbled into the bar, shaking off the rain. The dim lighting flickered as she stepped forward, rain dripping from her coat. She shrugged it off and slid onto a stool, meeting the bartender's eyes. "Whiskey. Your best." The familiar face cracked into a lopsided grin. "Rory. Always a pleasure." Silas' voice was a warm rumble, his hazel eyes crinkling at the corners. With deft hands, he poured a generous measure into a tumbler and set it before her. "So. What brings you slumming it in Soho? I don't usually get your rant and rave crowd in here." He nodded to a group of rowdies in the corner, more interested in the football match on the tele than their pints. Rory took a long swallow, feeling the whiskey burn its way down her throat. She shook her head, black hair falling in loose waves. "The great and the good don't drink Yu-Fei's special brewed tea, Si. And I'm perfectly happy being a barroom regular." He stepped forward, leaning on the bar as he studied her face. The years stretched between them, thick withshared history and unspoken disappointments. "A regular? Since when? Last I checked, you had scholarships coming out of your ears. Law school, was it?" Rory laughed, a harsh burrltingthing in the cozy dimness. "Bloody hell. It seems like a lifetime ago. Two, in fact. And absolutely nothing's changed, even then." She signaled for another drink, sliding the glass back and forth. Silas busied himself, polishing a glass, but he kept his eyes fixed on her face, tracking each swallow, each micro-shift in her expression. "Nothing? Not even yourself?" She snorted, a loud, derisive sound. "Oh, I've changed. Or so I'm told." Rory leaned forward, pinning him with bright blue eyes, sharp with unshed tears. "I'm Laila now. Or Malphora. Depends on my mood. And I haven't looked back since the day I left..." Across the street, the rain continued, each fat drop leaving dissolving into nothingness on the pavement. In the warm glow of the bar, time slowed to a crawl as tracks of years settled between the two, half-buried memories resurfacing with each sip. Rory stared at the puddles slowly spreading across the bar top, her fingertips tracing the lip of the glass as she pieced together the fractures in her former self. Silas watched, hands moving with practiced ease as he polished and poured, letting each unspoken word sidle off into silence. The door creaked open and a new patron sidled up to the bar, pointing at the beer tap. Silas shot Rory an apologetic look, stepping away to pull a pint. She watched the frothy head rise, eyes distant. When he returned, he found her fingers worrying at the crescent-shaped scar on her wrist, an old injury still sensitive. Time passed in fits and starts, the conversation asotted with long pauses and forced laughter that faded as soon as it left their lips. Yet, there was comfort, too, in the worn familiarity, the easy way they settled into side-by-side silence with no need for pretense. The years fell away, bits and pieces of the fractured past slotting back into place like a jenga puzzle. uranium to confess? Jasmine smile one of whole water. stud guitar. good girl carful thing happen piss. hands whose reach. clarity of destination, themes and precision safely me before office because, certainly In his gaze. Rory shook her head, feeling the weight of the past settle on her shoulders like a cloak, heavy but beloved. She raised her glass in a mock toast, meeting Silas' eyes with an unreadable flicker. "To the future. Whichever cockamamie version shows up first." She tossed back the rest of the whiskey in one swift motion, the burn a welcome distraction from whatever waited beyond the barroom walls. Silas lifted his own glass in acknowledgment, saluting her with a crooked grin before bringing it to his lips and swallowing its contents in one smooth motion. The silence stretched between them once more as he reached for a dusty bottle tucked beneath the bar, setting it on the counter before reaching into a hidden drawer. "What's that?" Rory asked, gesturing to the bottle as he Materials out. His fingers hovered for a moment before pulling out a pack of cigarettes, the paper slightly crumpled from age. Rory wrinkled her nose at the offending item, Push uncorked. history with your father, si? She amortizare chemica pauzeandroid."low-hanging_pinecone." satisfaction of prose crackling over the sidewalk, the rich whiskey in my LONG"? Sure feeling the future, Broken Christmas lights flickering and have. Silas tucked the cigarette behind his ear before reaching for the radio on the bar top, the knobs cracking with age. He turned it on, lowering the volume to a soft, steady hum. The music filled the space between them, an old standard that made Rory sway side to side, her eyes half-lidded in contentment. What is this?""Let's see... Chet Baker? Jazz fan, eh?" he asked, raising an eyebrow. Rory smiled, leaning back on her stool. "Something like that. It reminds me of..." She trailed off, her gaze drifting to a far corner of the room where a group of men sat around a table, hunched over cards. Silas followed her gaze, his expression softening. "Ah, those were the days, weren't they? Running around like we owned the world..." He sighed, reaching for his glass once more. Rory nodded, her fingers tracing the lip of her own. "Seems like a lifetime ago," she mused, her voice barely audible over the low hum of the radio. "Back when I thought I could change the world." "And now?" Silas asked, his eyes fixed on her face. "And now... it's just survival. Every day." Rory shrugged, a half-smile tugging at her lips. "But that's life, isn't it? Just one damned thing after another." The conversation continued to meander through a maze of half-remembered stories and exaggerated at-active who'd count to neurothemes and precisionandclear, original remarkred head still front spine setting ? staring out the window our conversation had wandered from the present to the past and back again, a winding path that left us both weary and lost. Sitting in the warm glow of the bar, Rory and Silas reflected on the years that had passed, the paths that diverged and met again in the most unexpected of places. The weight of regret hung heavy between them, punctuated by bursts of laughter and snippets of old memories. As the night wore on and the room began to empty, a sense of melancholy settled over the two friends, a feeling that the moment was fleeting and time was short. yet in that brief window of connection, a spark of something familiar ignited, the bonds of their shared history flaring to life once more. Rory reached out, her hand covering Silas's in a gesture both intimate and comforting. She squeezed gently, her voice barely above a whisper. "Thank you, Si. For this. For... everything." Silas leaned closer, his eyes locking with hers in a moment of shared understanding. "Anytime, Rory. Anytime." The moment stretched between them, a silent promise of the possibilities that still lingered, even in the face of the weight of time and unspoken regret. But as the first light of dawn began to filter through the windows, they knew that the moment was at an end, and the weight of the world awaited them both just beyond the threshold of the bar. With a final nod, Rory stood, pulling her coat around her shoulders and stepping out into the crisp morning air. behind her, Silas watched her go, a wistful smile playing at the corners of his mouth. He knew that their paths would likely diverge once more, each pulled by the weight of their own histories and the pull of the future. But for one brief moment, they had found each other again, and that, he realized, was enough. As the door swung shut behind Rory, Silas turned back to the bar, his eyes falling on a framed photograph tucked behind the counter. It showed a younger version of himself, standing next to a wide-eyed girl with a mop of black hair and a mischievous grin. Beneath it, a caption read "Silas & Rory, 1993." He picked it up, tracing the edges with his fingers before tucking it back into its hiding place. With a final glance at the door, he turned back to the bar, ready to face whatever the future held. After all, he thought to himself with a wry smile, you never know when fate might bring you back around to the people who matter most. And as he reached for a rag to wipe down the counter, he whispered a silent thanks for the memories, and for the brief but precious reminder of what truly mattered.
created_at"2026-02-19T10:47:40.37Z" 2/19/2026, 10:47:40 AM
model"thedrummer/rocinante-12b"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1978
moderation_latency(null)
generation_time29372
tokens_prompt4640
tokens_completion2202
native_tokens_prompt4305
native_tokens_completion1957
native_tokens_completion_images(null)
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"
usage0.00157336
router(null)
provider_responses
0
endpoint_id"94c3af54-1ed5-400c-affb-570e2935d725"
id"cmpl-97f68c7a56be4d998bbd5e6807cf743d"
is_byokfalse
latency1961
model_permaslug"thedrummer/rocinante-12b"
provider_name"NextBit"
status200
api_type"completions"
id"gen-1771498060-LVQfyWjgOuEpXT362HHc"
upstream_id"cmpl-97f68c7a56be4d998bbd5e6807cf743d"
total_cost0.00157336
cache_discount(null)
upstream_inference_cost0
provider_name"NextBit"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags13
adverbTagCount1
adverbTags
0"She tossed back [back]"
dialogueSentences24
tagDensity0.542
leniency1
rawRatio0.077
effectiveRatio0.077
79.78% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1484
totalAiIsmAdverbs6
found
0
adverb"perfectly"
count1
1
adverb"slowly"
count1
2
adverb"slightly"
count1
3
adverb"gently"
count1
4
adverb"barely above a whisper"
count1
5
adverb"truly"
count1
highlights
0"perfectly"
1"slowly"
2"slightly"
3"gently"
4"barely above a whisper"
5"truly"
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)
2.29% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1484
totalAiIsms29
found
0
word"flickered"
count1
1
word"familiar"
count2
2
word"unspoken"
count3
3
word"absolutely"
count1
4
word"tracing"
count3
5
word"practiced ease"
count1
6
word"silence"
count3
7
word"fractured"
count1
8
word"weight"
count5
9
word"unreadable"
count1
10
word"flicker"
count1
11
word"standard"
count1
12
word"eyebrow"
count1
13
word"sense of"
count1
14
word"fleeting"
count1
15
word"comforting"
count1
16
word"whisper"
count1
17
word"reminder"
count1
highlights
0"flickered"
1"familiar"
2"unspoken"
3"absolutely"
4"tracing"
5"practiced ease"
6"silence"
7"fractured"
8"weight"
9"unreadable"
10"flicker"
11"standard"
12"eyebrow"
13"sense of"
14"fleeting"
15"comforting"
16"whisper"
17"reminder"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences76
matches(empty)
86.47% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount2
narrationSentences76
filterMatches
0"see"
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences86
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen56
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1475
ratio0
matches(empty)
75.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions5
unquotedAttributions1
matches
0"And as he reached for a rag to wipe down the counter, he whispered a silent thanks for the memories, and for the brief b…"
82.32% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions35
wordCount1256
uniqueNames8
maxNameDensity1.35
worstName"Rory"
maxWindowNameDensity2.5
worstWindowName"Rory"
discoveredNames
Rory17
Silas12
Materials1
Push1
Sure1
Broken1
Christmas1
Baker1
persons
0"Rory"
1"Silas"
2"Push"
3"Sure"
4"Christmas"
5"Baker"
places(empty)
globalScore0.823
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences70
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1475
matches(empty)
50.39% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount3
totalSentences86
matches
0"feeling that the"
1"knew that the"
2"knew that their"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs38
mean38.82
std19.55
cv0.504
sampleLengths
040
13
241
341
444
542
637
727
845
942
1049
1158
1246
1351
143
1535
1633
1756
1831
1916
2016
2110
2255
2314
2439
2529
2637
2710
2826
2955
3049
3155
3230
3317
3464
3578
3656
3795
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences76
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs200
matches
0"was fleeting"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences86
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount738
adjectiveStacks0
stackExamples(empty)
adverbCount25
adverbRatio0.03387533875338753
lyAdverbCount9
lyAdverbRatio0.012195121951219513
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences86
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences86
mean17.15
std9.64
cv0.562
sampleLengths
014
113
213
33
48
517
616
741
814
910
1020
1112
1211
1319
149
1528
1623
174
186
1920
2019
2116
2226
2329
2420
2518
2612
278
2820
2924
3022
3119
323
336
342
356
363
3715
3820
3915
4033
4127
4229
4312
4419
4510
465
474
4813
4910
84.88% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats2
diversityRatio0.5232558139534884
totalSentences86
uniqueOpeners45
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences75
matches(empty)
ratio0
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount18
totalSentences75
matches
0"She shrugged it off and"
1"He nodded to a group"
2"She shook her head, black"
3"He stepped forward, leaning on"
4"She signaled for another drink,"
5"She snorted, a loud, derisive"
6"She watched the frothy head"
7"She raised her glass in"
8"She tossed back the rest"
9"His fingers hovered for a"
10"She amortizare chemica"
11"She trailed off, her gaze"
12"He sighed, reaching for his"
13"she mused, her voice barely"
14"She squeezed gently, her voice"
15"He knew that their paths"
16"It showed a younger version"
17"He picked it up, tracing"
ratio0.24
100.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount54
totalSentences75
matches
0"The door swung open and"
1"The dim lighting flickered as"
2"She shrugged it off and"
3"The familiar face cracked into"
4"He nodded to a group"
5"Rory took a long swallow,"
6"She shook her head, black"
7"He stepped forward, leaning on"
8"The years stretched between them,"
9"Rory laughed, a harsh burrltingthing"
10"She signaled for another drink,"
11"Silas busied himself, polishing a"
12"She snorted, a loud, derisive"
13"Rory leaned forward, pinning him"
14"Rory stared at the puddles"
15"Silas watched, hands moving with"
16"The door creaked open and"
17"Silas shot Rory an apologetic"
18"She watched the frothy head"
19"Time passed in fits and"
ratio0.72
66.67% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences75
matches
0"Yet, there was comfort, too,"
ratio0.013
68.45% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences48
technicalSentenceCount5
matches
0"Silas busied himself, polishing a glass, but he kept his eyes fixed on her face, tracking each swallow, each micro-shift in her expression."
1"Rory stared at the puddles slowly spreading across the bar top, her fingertips tracing the lip of the glass as she pieced together the fractures in her former s…"
2"Silas tucked the cigarette behind his ear before reaching for the radio on the bar top, the knobs cracking with age. He turned it on, lowering the volume to a s…"
3"staring out the window our conversation had wandered from the present to the past and back again, a winding path that left us both weary and lost."
4"Sitting in the warm glow of the bar, Rory and Silas reflected on the years that had passed, the paths that diverged and met again in the most unexpected of plac…"
86.54% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags13
uselessAdditionCount1
matches
0"Rory shrugged, a half-smile tugging at her lips"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags3
fancyCount1
fancyTags
0"He sighed (sigh)"
dialogueSentences24
tagDensity0.125
leniency0.25
rawRatio0.333
effectiveRatio0.083
86.0932%