Run: 2026-02-19-01KHTXCJ7BPK93CR8FPN2PX73P

Run Details

Duration:
38.7s
Cost:
$0.039720
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 third deadbolt slid back with a grating shriek that set her teeth on edge. “Finally. I was about to order another curry, you know how Ptolemy gets when he smells lamb vindaloo…” Eva’s voice trailed off as Aurora swung the door inwards, a half-eaten bag of crisps in her hand. It wasn't Eva. Lucien Moreau leaned against the doorframe, a picture of insufferable perfection. His platinum blond hair was slicked back without a single strand out of place. The charcoal of his tailored suit seemed to absorb the dim, curry-scented light of the hallway. One of his strange, mismatched eyes, the colour of warm amber, crinkled at the corner. The other, a flat, depthless black, remained impassive. “Carter.” He straightened, his voice a low, smooth melody that always sounded like a secret and a threat rolled into one. “You are a difficult woman to find.” Aurora’s grip tightened on the crisp packet, the plastic crinkling in the sudden silence. She took a half-step back, creating a barrier of stale air and old books. “That was the point, Moreau.” “A pity.” He took a step over the threshold, his polished shoes silent on the worn floorboards. He moved with a liquid grace that always unnerved her, his ivory-handled cane tapping once, a sharp counterpoint to the quiet. His gaze swept the cramped flat, taking in the towers of books, the scrolls pinned to the walls, the half-empty mugs of tea. A fat tabby cat, Ptolemy, blinked slowly at him from atop a precarious stack of occult histories before pointedly turning his back. “Charming.” Lucien’s lips curved, but the smile never reached his eyes. “Very… academic.” “It’s not my flat. What do you want?” He stopped near the small, cluttered kitchen table, trailing a gloved finger along a dusty tome. The title was in a language she didn’t recognise. “Direct, as always. No pleasantries? Not even an offer of whatever is festering in that teapot?” “We’re not friends, Lucien. We’re not anything.” The words came out sharper than she intended, a brittle edge she couldn't sand down. The small crescent-shaped scar on her wrist tingled, a phantom itch from a past she fought daily to forget. “Aren’t we?” The question hung in the air, thick and cloying. He turned to face her fully, the cramped space shrinking until it felt like all the air had been sucked out. His scent filled her senses, a mix of expensive cologne, old paper, and something else, something metallic and sharp, like ozone after a lightning strike. “I seem to recall us being a great many things, *Aurora*.” He used her full name like a weapon, the syllables curling from his tongue to wrap around her throat. She hated it. She hated the way it made her remember the whisper of it in the dark. “That was a mistake.” She tossed the crisp packet onto the counter. “One I’m not repeating. So unless you’re lost, the door is right there.” His amber eye gleamed. “But I am lost, in a manner of speaking. Which is why I’ve come to you. I require a finder.” She gave a short, humourless laugh. “I deliver takeaways for the Golden Empress, not track down your dodgy contraband. Ask Silas. Ask anyone else.” “I cannot ask anyone else.” He moved closer, his pace deliberate, predatory. He stopped just an arm’s length away, forcing her to tilt her head back to meet his gaze. A loose strand of her black hair fell across her face, and she fought the urge to brush it away, to show any sign of weakness. “Silas deals in spirits, both bottled and spectral. I am not seeking a ghost. And my ‘dodgy contraband’, as you so elegantly put it, is of a far more... delicate nature this time.” “Not my problem.” “It becomes your problem when its absence threatens to unravel the fragile peace we all so enjoy in this city.” His voice dropped, losing its playful edge and taking on the hard, cold weight of steel. “Someone has taken something from me. Something irreplaceable.” “Aww. Did you lose your favourite cufflink?” His face was a mask of calm, but a muscle jumped in his jaw. “They took a person.” The air thickened. Aurora felt a cold knot form in her stomach. This was why she’d left. This was the dark, swirling current she had fought to escape, the undertow that had almost pulled her under for good. People didn’t just go missing in Lucien’s world. They were erased. “Then call the police,” she said, her own voice betraying a tremor. Lucien’s laugh was a dry, rasping sound. “And tell them what? That a Fae courier carrying a vital message for the Unseelie Court has vanished somewhere between here and the Isle of Dogs? I suspect they would be less than helpful.” She closed her eyes for a second. Fae. Courts. It was all rushing back, the jargon of the London supernatural underworld she had tried so hard to purge from her memory. “No. Absolutely not.” “You are the best, Rory.” He switched to her nickname, the sound softer, more intimate. It was a calculated move, and they both knew it. “You see patterns others miss. You don’t just follow clues, you anticipate them. You think sideways. It is the one gift your barrister father gave you that you cannot run from.” “Leave my father out of this.” “I need you.” The words were simple, stripped of all artifice. They struck her with more force than any threat. In the entire time she had known him, through all the deals and dangers, Lucien Moreau had never needed anyone. He was the fixer, the broker, the one who held all the cards. “The answer is no.” She turned away, needing to put space between them, and began rearranging a stack of books that needed no rearranging. The spines were cool and solid beneath her trembling fingers. “Her name is Laila.” Aurora froze. “She’s young,” Lucien continued, his voice now directly behind her. She could feel the heat radiating from his body, could almost picture the expression on his face. “Foolish. Thought she was untouchable. She was carrying a truce offering. A silver locket. Its disappearance will be seen as a deliberate insult. Hostilities will resume. The last time the Courts went to war... I’m sure you remember the fires.” She remembered. She remembered the acrid smoke that had choked the city for a week, the whispers of unexplained disappearances in the news, the cold terror that had lived in the back of her throat. “This isn’t my fight.” “Isn’t it?” His gloved hand settled on her shoulder. It wasn’t heavy, but the weight was immense, pinning her in place. “You live in this city. You breathe its air. You benefit from the quiet accords and hidden treaties that men like me bleed to maintain. You don't get to simply opt out when it becomes inconvenient.” His fingers tightened slightly. “Besides, they know you worked for me once. When they start looking for leverage against me, when they start hunting for my assets, my contacts, my… weaknesses… where do you think they will look?” The unspoken threat was clear. He wasn’t just asking for her help. He was telling her she was already in danger. He had brought the wolves to her door. Her shoulders slumped in defeat. She spun around to face him, anger flashing in her bright blue eyes. “You bastard. You did this on purpose. You led them right to me.” “I protect what is mine,” he said, his voice dropping to a husky whisper. His gaze fell to her lips, and for a terrifying second, she thought he would lean in. The space between them crackled with a history of unspoken things, of a night filled with rain and bad decisions. “I came to collect.” “I am not yours.” His amber eye flared with some unreadable emotion. “A debate for another time. For now, you will help me find Laila.” It wasn't a request. He reached into the inner pocket of his suit jacket and withdrew a small, folded piece of parchment, holding it between two fingers. It looked ancient, the edges frayed and yellowed. “This was all she left behind,” he said. Aurora took it from him, her fingers brushing his glove. A jolt, like static electricity, shot up her arm. She unfolded the parchment. It was a map, but a strange one, the streets of London twisted into unfamiliar, spiralling patterns. In the centre, where the Thames should be, was a single, crudely drawn symbol. A thorny rose, its petals dripping what looked like ink, or blood. She had seen it before, in one of Eva's forbidden books. It was a sigil. A summons. A floorboard creaked in the hallway outside the flat. Lucien’s head snapped towards the door. His entire posture changed in an instant, the lazy grace replaced by a coiled, lethal tension. His hand went to the ivory handle of his cane. “You said you were difficult to find,” he murmured, his black eye fixed on the door, unblinking. “I was,” Aurora whispered, her gaze locked on the sigil. The sound came again, closer this time. The slow, heavy scrape of something being dragged along the floor, followed by a low, guttural snarl that was not human. Three deadbolts suddenly seemed like nowhere near enough.
created_at"2026-02-19T12:18:23.603Z" 2/19/2026, 12:18:23 PM
model"google/gemini-2.5-pro"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency2840
moderation_latency(null)
generation_time38647
tokens_prompt4556
tokens_completion3012
native_tokens_prompt4440
native_tokens_completion3417
native_tokens_completion_images0
native_tokens_reasoning1325
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"
usage0.03972
router(null)
provider_responses
0
endpoint_id"b261d15b-95ce-4c8c-8bce-00eb0dc1ff77"
is_byokfalse
latency2840
model_permaslug"google/gemini-2.5-pro"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1771503503-75nNzS5wjFLye4e6Tems"
upstream_id(null)
total_cost0.03972
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
totalTags19
adverbTagCount2
adverbTags
0"She turned away [away]"
1"His fingers tightened slightly [slightly]"
dialogueSentences46
tagDensity0.413
leniency0.826
rawRatio0.105
effectiveRatio0.087
87.28% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1572
totalAiIsmAdverbs4
found
0
adverb"slowly"
count1
1
adverb"very"
count1
2
adverb"slightly"
count1
3
adverb"suddenly"
count1
highlights
0"slowly"
1"very"
2"slightly"
3"suddenly"
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)
52.29% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1572
totalAiIsms15
found
0
word"silence"
count1
1
word"whisper"
count2
2
word"spectral"
count1
3
word"unravel"
count1
4
word"weight"
count2
5
word"stomach"
count1
6
word"absolutely"
count1
7
word"calculated"
count1
8
word"could feel"
count1
9
word"unspoken"
count2
10
word"unreadable"
count1
11
word"tension"
count1
highlights
0"silence"
1"whisper"
2"spectral"
3"unravel"
4"weight"
5"stomach"
6"absolutely"
7"calculated"
8"could feel"
9"unspoken"
10"unreadable"
11"tension"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"hung in the air"
count1
highlights
0"hung in the air"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences94
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences94
filterMatches(empty)
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences119
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen40
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords1
totalWords1566
ratio0.001
matches
0"Aurora"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions13
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions22
wordCount1085
uniqueNames7
maxNameDensity0.65
worstName"Lucien"
maxWindowNameDensity2
worstWindowName"Lucien"
discoveredNames
Aurora6
Eva3
Moreau2
Ptolemy1
Lucien7
London2
Thames1
persons
0"Aurora"
1"Eva"
2"Moreau"
3"Ptolemy"
4"Lucien"
places
0"London"
1"Thames"
globalScore1
windowScore1
51.32% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences76
glossingSentenceCount3
matches
0"sounded like a secret and a threat rolled"
1"felt like all the air had been sucked o"
2"looked like ink, or blood"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1566
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences119
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs49
mean31.96
std24.31
cv0.761
sampleLengths
015
136
23
364
428
533
683
713
88
941
1041
1168
1237
1325
1424
1524
1689
173
1844
197
2018
2149
2212
2341
2434
2556
266
2753
2834
294
302
3167
3235
334
3495
3529
3631
3755
384
3925
4031
418
4283
439
4432
4517
4610
4728
488
90.33% Passive voice overuse
Target: ≤2% passive sentences
passiveCount4
totalSentences94
matches
0"was slicked"
1"been sucked"
2"were erased"
3"being dragged"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs172
matches
0"was telling"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences119
ratio0
matches(empty)
88.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1091
adjectiveStacks2
stackExamples
0"dim, curry-scented light"
1"small crescent-shaped scar"
adverbCount37
adverbRatio0.03391384051329056
lyAdverbCount8
lyAdverbRatio0.007332722273143905
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences119
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences119
mean13.16
std8.79
cv0.668
sampleLengths
015
136
23
311
414
516
615
78
821
97
1014
1114
125
1317
1421
1523
1622
1711
182
198
2016
219
2216
2322
2419
2511
2621
2725
2811
2919
303
3115
3212
3313
344
3520
366
3718
3812
3918
4026
4133
423
4336
448
457
4614
474
483
499
44.54% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats12
diversityRatio0.3277310924369748
totalSentences119
uniqueOpeners39
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences88
matches(empty)
ratio0
0.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount52
totalSentences88
matches
0"It wasn't Eva."
1"His platinum blond hair was"
2"He straightened, his voice a"
3"She took a half-step back,"
4"He took a step over"
5"He moved with a liquid"
6"His gaze swept the cramped"
7"He stopped near the small,"
8"He turned to face her"
9"His scent filled her senses,"
10"He used her full name"
11"She hated it."
12"She hated the way it"
13"She tossed the crisp packet"
14"His amber eye gleamed."
15"She gave a short, humourless"
16"He moved closer, his pace"
17"He stopped just an arm’s"
18"His voice dropped, losing its"
19"His face was a mask"
ratio0.591
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount84
totalSentences88
matches
0"The third deadbolt slid back"
1"Eva’s voice trailed off as"
2"It wasn't Eva."
3"Lucien Moreau leaned against the"
4"His platinum blond hair was"
5"The charcoal of his tailored"
6"The other, a flat, depthless"
7"He straightened, his voice a"
8"Aurora’s grip tightened on the"
9"She took a half-step back,"
10"He took a step over"
11"He moved with a liquid"
12"His gaze swept the cramped"
13"A fat tabby cat, Ptolemy,"
14"Lucien’s lips curved, but the"
15"He stopped near the small,"
16"The title was in a"
17"The words came out sharper"
18"The small crescent-shaped scar on"
19"The question hung in the"
ratio0.955
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences88
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences40
technicalSentenceCount2
matches
0"She remembered the acrid smoke that had choked the city for a week, the whispers of unexplained disappearances in the news, the cold terror that had lived in th…"
1"The slow, heavy scrape of something being dragged along the floor, followed by a low, guttural snarl that was not human."
19.74% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags19
uselessAdditionCount4
matches
0"He took, his polished shoes silent on the worn floorboards"
1"He moved, his pace deliberate, predatory"
2"she said, her own voice betraying a tremor"
3"he said, his voice dropping to a husky whisper"
84.78% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags6
fancyCount3
fancyTags
0"Lucien continued (continue)"
1"he murmured (murmur)"
2"Aurora whispered (whisper)"
dialogueSentences46
tagDensity0.13
leniency0.261
rawRatio0.5
effectiveRatio0.13
77.2758%