Run: 2026-02-19-01KHTX54BQPX8R9R9YYSSHK41K

Run Details

Duration:
11.3s
Cost:
$0.001202
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
The insistent pounding on Aurora’s front door rattled the flimsy wood. Three deadbolts offered little comfort against such a furious assault. Her heart hammered a frantic rhythm against her ribs, a stark contrar t to the usual placid beat. Who the hell would be battering down her door like this at this hour? She wasn’t expecting anyone. Eve was away visiting her parents, and Silas, bless his messy heart, was usually more considerate. “Alright, alright, keep your shirt on!” she yelled, her voice tight with a tension she hadn't felt since she’d fled Evan’s suffocating control. She braced herself, then yanked the bolt furthest from the handle. The door swung inward with a groan, revealing a tall, lean figure silhouetted against the dim light of the hallway. Lucien Moreau. The air in the cramped landing seemed to thicken, charged with years of unspoken accusations and lingering desire. He stood there, an ivory-handled cane tapping a slow, deliberate rhythm against the worn floorboards of her flat’s entryway. His platinum blond hair gleamed under the harsh overhead light, slicked back from a face perpetually etched with an amused detachment that always managed to infuriate and captivate her in equal measure. His charcoal suit was impeccably tailored, a stark, almost aggressive contrast to her own worn jeans and the faded Golden Empress uniform slung over a nearby chair. “Aurora,” he said, his voice a low, silken murmur that slid across her nerves like expensive whiskey. “Always a pleasure to see you in your natural habitat.” His heterochromatic eyes, one amber, one eerily black, swept over the organised chaos of her small flat, lingering for a fraction of a second on the precarious stacks of books and research notes that threatened to spill onto the floor. Ptolemy, Eva’s notoriously aloof tabby, twitched an ear from his perch on a teetering pile of ancient scrolls, his emerald eyes narrowed suspiciously at the intruder. Rory’s breath hitched. “Lucien. The last time I saw you, you were disappearing into the London fog with a smug look on your face and a missing artefact in your pocket. I don’t recall inviting you over for tea.” She leaned against the doorframe, crossing her arms, attempting to project an air of indifference she was far from feeling. A slow smile spread across his lips, a flash of white in the dimness. “Invitations are so dreadfully pedestrian, wouldn’t you agree? Especially when the matter at hand demands a certain… immediate attention.” He gestured with his cane, the ivory smooth and cool against his pale skin. “Besides, I find people are far more receptive when you bypass the niceties. Less opportunity for prevarication.” “Prevarication?” Rory scoffed, her grip tightening on the doorframe. “Is that what you call it when you disappear for six months without a word, leaving me to deal with… everything?” The words tumbled out, raw and ragged, belying the cool facade she tried to maintain. The crescent scar on her left wrist throbbed, a phantom ache reminding her of past hurts. Lucien’s smile faltered, just for a flicker. His gaze sharpened, the detachment momentarily replaced by something far more unnerving. “You’ve been busy, I see. Still wrestling with Yu-Fei’s culinary mysteries, I presume?” “Someone has to pay the rent, Lucien,” she retorted, the bitterness a familiar companion. “Unlike some people, I don’t have a convenient supernatural underworld to trade secrets with.” He took a step closer, the tap-tap-tap of his cane echoing in the sudden silence between them. Rory held her ground, unwilling to retreat further into her own space, though the scent of his expensive cologne, a mix of sandalwood and something sharp and metallic like… ozone, made her breath catch. “Speaking of secrets, Aurora. There's a rather significant one that’s landed right on my desk. One that concerns you directly.” Rory’s stomach twisted. “What are you talking about?” “A certain relic,” he purred, his eyes glinting. “A rather old and decidedly unpleasant one. It surfaced this morning, causing a rather spectacular amount of unpleasantness for a Mr. Alistair Finch, a man I generally try to avoid. Apparently, it was in your possession very recently.” Rory’s mind raced. The amulet. She’d moved it from Eva’s flat to her own, intending to take it to Silas for safekeeping. But then… then things had gotten complicated. She’d had a run-in with some rather unpleasant individuals near the docks, and the amulet had been with her. “How do you know that?” “Information,” he replied, a hint of amusement creeping back into his tone. “It’s my trade, remember? And this particular piece of information is rather… alarming. Especially given its purported provenance, and the rather unfortunate fate of Mr. Finch.” Alistair Finch. The name sent a shiver down Rory’s spine. He was a collector, a notorious one, known for his ruthless acquisition methods and his penchant for the… arcane. If Lucien was involved, and Finch was dead, then this was far beyond a simple delivery gone wrong. This was dangerous. “What kind of unpleasantness?” she asked, her voice barely a whisper. Lucien’s face was grim. “Let’s just say Mr. Finch is no longer in a position to appreciate its exquisite craftsmanship. The amulet… it’s not merely old, Aurora. It’s hungry.” The casual cruelty in his words, the subtle reference to death, was jarring. It was the very reason she’d walked away from him, from the dangerous, seductive world he inhabited. Yet, here he was, back in her life, cloaked in danger and intrigue, his amber eye holding a flicker of concern, or was it just calculation? “Hungry for what?” “For life. For power. For the same things it’s always craved.” Lucien tilted his head, his gaze unwavering. “And it seems it found what it was looking for. Or rather, what someone *wanted* it to find. Someone who, I suspect, is now very close to you.” Her blood ran cold. Someone close to her? Who could possibly be involved with an artefact like that? Unless… unless whatever she had done to escape Evan had attracted attention from further afield than she’d realised. Or perhaps it was connected to the reason she’d fled Cardiff in the first place. “I don’t understand.” “No, you never did, did you?” Lucien took another step, closing the distance between them. He reached out, his long fingers brushing against her cheek, sending a jolt of static electricity through her. Her skin prickled where he’d touched her. “But that’s where I come in, darling. You have a habit of stumbling into messes that require very specific, and very dangerous, skill sets to clean up.” His thumb traced the line of her jaw, his touch both possessive and something akin to genuine worry. Rory’s breath caught in her throat, the years of separation melting away in the heat of his proximity. Those ridiculous, impossible eyes held her captive, a swirling vortex of shared history and future peril. “This isn't my mess, Lucien,” she said, her voice husky. “This is yours. You brought it to my doorstep.” “And now I’m taking it away.” He didn’t ask; he stated. His hand dropped from her face, and he turned, already heading towards the door. “Come. We have much to discuss, and frankly, your little flat is far too… domestically inclined for the conversation that needs to happen.” Before Rory could even process his words, he was pulling the door open wider, a silent invitation to step out into the unknown with him. The hallway, bathed in the sickly yellow glow of the old building's fluorescent light, seemed to stretch before them like a shadowed path. The air thrummed with unspoken promises and the intoxicating danger of his presence. He met her gaze, a silent challenge in his eyes. “Are you coming, Aurora?” he asked, the question laced with a familiar, intoxicating arrogance. “Or are you content to let the darkness consume you here?” The tapping of his cane against the floorboards, usually a sign of his impatience, now sounded like a drumbeat urging her forward, into a world she’d tried so hard to escape, a world that had always, irrevocably, been a part of him. And a part of her. Against her better judgement, against every instinct screaming at her to slam the door shut and pretend he’d never been there, Rory found herself stepping out of the relative safety of Eva’s cluttered flat and into the suffocating embrace of Lucien Moreau’s shadow. The three deadbolts clicked shut behind her, sealing her fate for the night.
created_at"2026-02-19T12:14:20.03Z" 2/19/2026, 12:14:20 PM
model"google/gemini-2.5-flash-lite"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency240
moderation_latency(null)
generation_time11275
tokens_prompt4556
tokens_completion2251
native_tokens_prompt4440
native_tokens_completion1896
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"
usage0.0012024
router(null)
provider_responses
0
endpoint_id"ce839073-aa24-4f29-8358-15b319bd05ec"
is_byokfalse
latency240
model_permaslug"google/gemini-2.5-flash-lite"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1771503260-3uCrawd6K6BxsrPB8w7d"
upstream_id(null)
total_cost0.0012024
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
totalTags16
adverbTagCount0
adverbTags(empty)
dialogueSentences32
tagDensity0.5
leniency1
rawRatio0
effectiveRatio0
82.36% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1417
totalAiIsmAdverbs5
found
0
adverb"very"
count5
highlights
0"very"
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)
11.79% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1417
totalAiIsms25
found
0
word"pounding"
count1
1
word"stark"
count2
2
word"tension"
count1
3
word"charged"
count1
4
word"unspoken"
count2
5
word"desire"
count1
6
word"etched"
count1
7
word"facade"
count1
8
word"throbbed"
count1
9
word"flicker"
count2
10
word"familiar"
count2
11
word"echoing"
count1
12
word"silence"
count1
13
word"stomach"
count1
14
word"glinting"
count1
15
word"raced"
count1
16
word"whisper"
count1
17
word"intrigue"
count1
18
word"unwavering"
count1
19
word"traced"
count1
20
word"peril"
count1
highlights
0"pounding"
1"stark"
2"tension"
3"charged"
4"unspoken"
5"desire"
6"etched"
7"facade"
8"throbbed"
9"flicker"
10"familiar"
11"echoing"
12"silence"
13"stomach"
14"glinting"
15"raced"
16"whisper"
17"intrigue"
18"unwavering"
19"traced"
20"peril"
33.33% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches3
maxInWindow3
found
0
label"blood ran cold"
count1
1
label"eyes widened/narrowed"
count1
2
label"sent a shiver through"
count1
highlights
0"blood ran cold"
1"eyes narrowed"
2"sent a shiver down"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences75
matches(empty)
66.67% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount4
narrationSentences75
filterMatches(empty)
hedgeMatches
0"seemed to"
1"managed to"
2"tried to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences91
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen56
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords1
totalWords1412
ratio0.001
matches
0"wanted"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions15
unquotedAttributions0
matches(empty)
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions33
wordCount1004
uniqueNames13
maxNameDensity0.9
worstName"Rory"
maxWindowNameDensity2.5
worstWindowName"Rory"
discoveredNames
Aurora1
Silas2
Evan2
Moreau2
Golden1
Empress1
Ptolemy1
Eva3
Rory9
Alistair1
Finch2
Lucien7
Cardiff1
persons
0"Aurora"
1"Silas"
2"Evan"
3"Moreau"
4"Eva"
5"Rory"
6"Alistair"
7"Finch"
8"Lucien"
places
0"Cardiff"
globalScore1
windowScore0.833
59.09% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences55
glossingSentenceCount2
matches
0"something akin to genuine worry"
1"sounded like a drumbeat urging her forward"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1412
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences91
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs30
mean47.07
std26.9
cv0.571
sampleLengths
073
154
22
396
493
559
664
761
832
928
1071
118
1246
1353
1438
1550
1611
1729
1856
193
2046
2151
223
2367
2452
2519
2648
2771
2825
29103
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences75
matches
0"was connected"
75.78% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs161
matches
0"wasn’t expecting"
1"was jarring"
2"was pulling"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount1
flaggedSentences1
totalSentences91
ratio0.011
matches
0"“And now I’m taking it away.” He didn’t ask; he stated."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1008
adjectiveStacks0
stackExamples(empty)
adverbCount35
adverbRatio0.034722222222222224
lyAdverbCount12
lyAdverbRatio0.011904761904761904
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences91
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences91
mean15.52
std10.99
cv0.709
sampleLengths
011
110
218
314
44
516
623
711
820
92
1018
1119
1232
1327
1417
1550
1626
173
1856
1914
2033
2117
229
2336
2416
257
2612
2713
2814
2914
3017
3129
325
3320
343
355
368
3738
383
392
4017
412
425
4319
445
4512
4626
472
488
4918
82.42% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats5
diversityRatio0.5274725274725275
totalSentences91
uniqueOpeners48
48.31% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences69
matches
0"then things had gotten complicated."
ratio0.014
46.09% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount30
totalSentences69
matches
0"Her heart hammered a frantic"
1"She wasn’t expecting anyone."
2"she yelled, her voice tight"
3"She braced herself, then yanked"
4"He stood there, an ivory-handled"
5"His platinum blond hair gleamed"
6"His charcoal suit was impeccably"
7"he said, his voice a"
8"His heterochromatic eyes, one amber,"
9"She leaned against the doorframe,"
10"He gestured with his cane,"
11"His gaze sharpened, the detachment"
12"she retorted, the bitterness a"
13"He took a step closer,"
14"he purred, his eyes glinting"
15"She’d moved it from Eva’s"
16"She’d had a run-in with"
17"he replied, a hint of"
18"He was a collector, a"
19"she asked, her voice barely"
ratio0.435
39.71% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount58
totalSentences69
matches
0"The insistent pounding on Aurora’s"
1"Her heart hammered a frantic"
2"She wasn’t expecting anyone."
3"Eve was away visiting her"
4"she yelled, her voice tight"
5"She braced herself, then yanked"
6"The door swung inward with"
7"The air in the cramped"
8"He stood there, an ivory-handled"
9"His platinum blond hair gleamed"
10"His charcoal suit was impeccably"
11"he said, his voice a"
12"His heterochromatic eyes, one amber,"
13"Ptolemy, Eva’s notoriously aloof tabby,"
14"Rory’s breath hitched."
15"She leaned against the doorframe,"
16"A slow smile spread across"
17"He gestured with his cane,"
18"Rory scoffed, her grip tightening"
19"The words tumbled out, raw"
ratio0.841
100.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount3
totalSentences69
matches
0"If Lucien was involved, and"
1"Yet, here he was, back"
2"Before Rory could even process"
ratio0.043
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences39
technicalSentenceCount2
matches
0"He reached out, his long fingers brushing against her cheek, sending a jolt of static electricity through her."
1"The tapping of his cane against the floorboards, usually a sign of his impatience, now sounded like a drumbeat urging her forward, into a world she’d tried so h…"
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags16
uselessAdditionCount7
matches
0"Rory scoffed, her grip tightening on the doorframe"
1"he purred, his eyes glinting"
2"he replied, a hint of amusement creeping back into his tone"
3"she asked, her voice barely a whisper"
4"Lucien tilted, his gaze unwavering"
5"she said, her voice husky"
6"he asked, the question laced with a familiar, intoxicating arrogance"
56.25% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags8
fancyCount3
fancyTags
0"she yelled (yell)"
1"research notes (research)"
2"she retorted (retort)"
dialogueSentences32
tagDensity0.25
leniency0.5
rawRatio0.375
effectiveRatio0.188
79.5039%