Run: 2026-02-19-01KHTY67X6HG4V6C89B7MR0B0G

Run Details

Duration:
18.4s
Cost:
$0.009791
Provider:
Google AI Studio

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 tumbler shattered against the floor, spraying amber liquid and shards of cheap glass over Rory’s boots. She didn’t flinch. Behind the bar, Silas cursed under his breath, his silver signet ring clinking against the mahogany as he reached for a rag. "Watch your feet, Aurora," Silas muttered, his hazel eyes scanning the floor for the largest fragments. "That floor swallows glass like it’s hungry for it." "I've got it, Si." Rory crouched, her fingers hovering over a jagged sliver near the brass footrail. The Raven’s Nest was breathing today—a low, rhythmic hum of Soho rain-voids and the scent of damp wool and stale tobacco. A pair of polished, black leather brogues entered her periphery. They were expensive, the kind of shoes that didn't belong in a bar where the light fixtures grew fur coats of dust. "You always did have a habit of cleaning up other people's messes, Laila." The voice was a ghost, cold and sharp, haunting the space between her shoulder blades. Rory froze. The small crescent-shaped scar on her left wrist throbbed with a phantom heat. She didn't look up immediately. She took a slow, deliberate breath, steadying the tremor in her hands before rising to face the man standing by the corner stool. Evan looked like a stranger wearing a dead man’s face. The boy she’d fled in Cardiff had been all frayed edges and nervous energy, a creature of shadows and whispered threats. The man before her was curated. His suit was a dark navy charcoal, bespoke and sharp enough to draw blood. His hair was slicked back, revealing a forehead free of the furrowed lines she remembered. "Evan." "I prefer Julian these days. More... professional." He didn't offer a hand. He simply watched her, his eyes drifting down to the Golden Empress logo embroidered on her windbreaker. "Delivery girl? Truly? I thought you’d be a High Court judge by now. Or at least finishing that degree your father barked about." "People change. Mostly for the better." "Do they?" Evan gestured to the stool beside him. "Sit. Buy me a drink to replace the one you just demolished." Rory glanced toward Silas. The old spymaster had stopped wiping the bar. He stood as still as a gargoyle, his grey-streaked auburn beard catching the dim green glow of the neon sign outside. His slight limp was hidden behind the counter, but his posture screamed of a man ready to vault over the wood. "She's working, mate," Silas said, his voice a low rumble of gravel. "She's an old friend," Evan countered, not looking at Silas. "Aren't you, Rory? We shared a life once. A very small, very loud life in a flat that smelled of damp and ambition." Rory pulled out the stool. The leather groaned. She felt Silas’s gaze like a physical weight, a silent question she wasn't ready to answer. She sat, keeping her spine straight, her shoulder-length black hair shielding her profile. "What are you doing in London, Evan? Soho isn't your scene. There isn't enough porcelain to break." "Expansion. Law firms need consultants who understand the... darker nuances of the trade. And London is nothing but dark nuances." He leaned in, the scent of expensive sandalwood and something metallic clinging to him. "I saw you through the window. That walk. You still lead with your left shoulder when you're tired. It’s a tell." "I'm not tired. I'm busy." "You’re hiding. There’s a difference." Evan signaled to Silas. "A double Scotch. Something that doesn't taste like bog water, if you can manage it." Silas didn't move for a long second. He twisted the silver ring on his finger, his eyes locked on Evan’s throat. Then, with a practiced, icy efficiency, he turned to the top shelf. "You look different," Rory said, her voice barely a whisper. "The suit. The name. It’s a good mask." "It’s not a mask, Aurora. It’s an evolution. I realised that being the monster in the room only works if you’re also the person who owns the room. I grew up. When did you decide to shrink?" He reached out, his hand moving toward her wrist where the crescent scar hid under her sleeve. Rory pulled back, her chair scraping harshly against the floorboards. The movement was instinctive, a muscle-memory response to a hand that used to move much faster. "Don't touch me." "Still jumpy. Some things never change, I suppose." Evan took the glass Silas slid toward him without thanks. He swirled the liquid, watching the legs of the scotch coat the glass. "I went to see your mother last Christmas. Jennifer looks well. Grever than she was. She asked about you. I told her I hadn't heard a word. I didn't mention the private investigator I hired to find this charming little dive." The air in the Raven’s Nest seemed to thin. Rory felt the old maps on the walls closing in, the black-and-white photographs of dead agents watching her fail. "You followed me." "I found you. There’s a nuance there, too. I wanted to see if the girl who ran away in the middle of the night had found something worth the effort. But look at you. You’re living above a pub, delivering noodles to people who don't know your name. You traded a life of consequence for a life of invisibility." "I traded a life of fear for a life of peace," Rory snapped. "You don't get to come here and audit my happiness, Evan. You don't get to be the ghost in my machine anymore." Evan laughed, a short, dry sound that didn't reach his eyes. "Happiness? You’re a Carter. You were built for the fight. This? This is a slow suicide. You think you’re safe because you’re small, but you’re just easier to crush." He took a long sip of the scotch, his eyes never leaving hers. Rory looked at his hands. They were manicured now. No bruised knuckles. No nicotine stains. He looked like the kind of man her father would have invited for Sunday roast, the kind of man who would discuss tort reform while kicking the dog under the table. "I'm leaving," Rory said, standing so quickly the stool nearly toppled. "The order's ready, Rory," Silas said, stepping forward. He held a brown paper bag from the Golden Empress, though Rory knew she hadn't brought one in. He set it on the bar between her and Evan. His hazel eyes were hard, fixed on the intruder. "Address is on the slip. Long ride. Better get moving." Evan looked at the bag, then at Silas, a smirk playing on his thin lips. "Protective. That’s sweet. Does he know about the Cardiff incident, Rory? Or do you keep your little outbursts as private as your current address?" Rory grabbed the bag. Her knuckles were white. "He knows everything that matters." "I doubt that. Nobody knows everything. That’s why we have discovery phases." Evan stood, smoothing his jacket with a slow, predatory grace. He reached into his pocket and pulled out a crisp fifty-pound note, dropping it onto the bar. "Keep the change. Buy some better glass." He turned to Rory, stepping into her personal space, close enough that she could see the tiny, burst capillaries in his eyes—the only remaining evidence of the man he used to be. "I’ll be around, Laila. London is a very small city when you know where to look. Give my best to Silas. He has the look of a man who’s buried a lot of bodies. I wonder if he has room for one more." Evan turned and walked toward the door, his gait rhythmic and confident, the slight echo of his brogues mocking the silence he left behind. The green neon light flickered as he stepped out into the Soho drizzle, casting a sickly hue over the empty stool. Rory stood frozen, the paper bag trembling in her grip. Silas reached over the bar, his hand covering her wrist, his thumb resting just above the crescent scar. "He’s gone, kid," Silas said quietly. "He found me, Si. He's not supposed to be able to find me." "He didn't just find you." Silas's voice took on a sharp, metallic edge Rory hadn't heard since she'd moved in. He picked up the fifty-pound note Evan had left behind and flipped it over. On the back, written in a cramped, aggressive hand, was a phone number and a single word: *Tock.* Rory felt the world tilt. The bag in her hand felt impossibly heavy, the steam from the supposed food inside smelling of nothing but cold rain. "He’s not going to stop," she whispered. Silas didn't answer. He reached under the bar and pulled out a heavy, black handset, his fingers dialing a number from memory. His limp seemed to vanish as he stood taller, the retired shadows of his former life bleeding back into his skin. "Yeah. It's Blackwood," Silas said into the phone, his eyes fixed on the door where Evan had vanished. "We have a breach. Soho. Trigger the sweep on the girl. Now." Across the street, a black town car that had been idling at the curb clicked its headlights on, the high beams cutting through the gloom like a pair of searching eyes. Rory watched as the car began to roll, not away, but toward the entrance of the alley. "Silas," Rory said, her voice catching. "The car." Silas dropped the phone. He didn't look at the car. He looked at the bookshelf at the back of the room, the one that hid the secrets he’d promised her she’d never need to see. "Get behind the bar, Aurora. Now." The front window of The Raven’s Nest didn't just break; it detonated. A heavy, steel-toed boot kicked through the glass, followed by the silhouette of a man who moved too fast for a consultant. The green neon sign flickered once, twice, and then died, plunging the bar into a darkness punctuated only by the scream of a car alarm and the heavy, rhythmic thud of feet hitting the floorboards. "Aurora!" Silas barked, his hand diving into the drawer where he kept the short-barreled revolver. Rory didn't run for the bookshelf. She didn't hide. She gripped the heavy glass pitcher from the prep station, her black hair falling over her eyes as she watched the first shadow clear the shards of the window. The girl from Cardiff was gone. The delivery girl was gone. The shadow raised a silenced pistol. Rory threw the pitcher. The glass caught the man square in the temple just as the back door of the bar groaned on its hinges. They weren't just coming from the front. "Down!" Silas yelled, shoving her toward the floor as a line of bullets stitched a path across the mahogany bar. Rory hit the ground, the smell of gunpowder and old beer filling her lungs. Above her, Silas was no longer a bartender with a limp. He was a man composed of angles and lethal intent, his silver signet ring flashing as he returned fire into the smoky gloom. The Raven's Nest had become a cage, and the hunters were already inside.
created_at"2026-02-19T12:32:25.005Z" 2/19/2026, 12:32:25 PM
model"google/gemini-3-flash-preview-20251217"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency905
moderation_latency(null)
generation_time18372
tokens_prompt4618
tokens_completion2748
native_tokens_prompt4497
native_tokens_completion2514
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"
usage0.0097905
router(null)
provider_responses
0
endpoint_id"6e82f652-2693-4b60-bbe0-7362d6e345f0"
is_byokfalse
latency905
model_permaslug"google/gemini-3-flash-preview-20251217"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1771504345-PS08c0LydFHJhFWlLzOc"
upstream_id(null)
total_cost0.0097905
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
totalTags20
adverbTagCount1
adverbTags
0"Silas said quietly [quietly]"
dialogueSentences49
tagDensity0.408
leniency0.816
rawRatio0.05
effectiveRatio0.041
86.65% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1872
totalAiIsmAdverbs5
found
0
adverb"truly"
count1
1
adverb"very"
count3
2
adverb"quickly"
count1
highlights
0"truly"
1"very"
2"quickly"
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)
57.26% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1872
totalAiIsms16
found
0
word"shattered"
count1
1
word"scanning"
count1
2
word"rhythmic"
count3
3
word"throbbed"
count1
4
word"furrowed"
count1
5
word"weight"
count1
6
word"porcelain"
count1
7
word"whisper"
count1
8
word"echo"
count1
9
word"silence"
count1
10
word"flickered"
count2
11
word"gloom"
count2
highlights
0"shattered"
1"scanning"
2"rhythmic"
3"throbbed"
4"furrowed"
5"weight"
6"porcelain"
7"whisper"
8"echo"
9"silence"
10"flickered"
11"gloom"
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
narrationSentences102
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount3
narrationSentences102
filterMatches(empty)
hedgeMatches
0"seemed to"
1"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences131
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen59
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords1
totalWords1859
ratio0.001
matches
0"Tock."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions17
unquotedAttributions0
matches(empty)
50.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions72
wordCount1282
uniqueNames10
maxNameDensity1.72
worstName"Rory"
maxWindowNameDensity3.5
worstWindowName"Rory"
discoveredNames
Rory22
Silas20
Raven4
Nest4
Soho2
Cardiff2
Golden2
Empress2
Evan13
Sunday1
persons
0"Rory"
1"Silas"
2"Raven"
3"Nest"
4"Evan"
places
0"Soho"
1"Cardiff"
2"Golden"
globalScore0.642
windowScore0.5
85.06% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences77
glossingSentenceCount2
matches
0"looked like a stranger wearing a dead man"
1"looked like the kind of man her father wo"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.538
wordCount1859
matches
0"not away, but toward the entrance of the alley"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences131
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs60
mean30.98
std19.42
cv0.627
sampleLengths
042
125
24
366
413
558
666
71
852
96
1021
1154
1212
1333
1437
1517
1655
175
1824
1933
2018
2137
2243
233
2472
2528
263
2759
2835
2940
3059
3111
3255
3339
3413
3546
3632
3743
3845
3928
406
4113
4234
4318
4426
457
4643
4730
4848
498
84.62% Passive voice overuse
Target: ≤2% passive sentences
passiveCount6
totalSentences102
matches
0"was curated"
1"was slicked"
2"was hidden"
3"were manicured"
4"was gone"
5"was gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs213
matches
0"was breathing"
77.43% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount2
semicolonCount1
flaggedSentences3
totalSentences131
ratio0.023
matches
0"The Raven’s Nest was breathing today—a low, rhythmic hum of Soho rain-voids and the scent of damp wool and stale tobacco."
1"He turned to Rory, stepping into her personal space, close enough that she could see the tiny, burst capillaries in his eyes—the only remaining evidence of the man he used to be."
2"The front window of The Raven’s Nest didn't just break; it detonated."
88.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1295
adjectiveStacks2
stackExamples
0"small crescent-shaped scar"
1"heavy, steel-toed boot"
adverbCount34
adverbRatio0.026254826254826256
lyAdverbCount11
lyAdverbRatio0.008494208494208495
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences131
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences131
mean14.19
std9.52
cv0.671
sampleLengths
017
13
222
316
49
54
613
721
810
922
1013
1115
122
1313
145
1523
1610
1721
186
1914
2015
211
2212
2317
2423
256
269
2712
284
298
3021
3121
3212
3310
3423
355
363
3716
3813
3917
4034
4121
425
439
4415
457
4614
4712
4810
498
37.79% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats16
diversityRatio0.29770992366412213
totalSentences131
uniqueOpeners39
33.67% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences99
matches
0"Then, with a practiced, icy"
ratio0.01
82.63% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount34
totalSentences99
matches
0"She didn’t flinch."
1"They were expensive, the kind"
2"She didn't look up immediately."
3"She took a slow, deliberate"
4"His suit was a dark"
5"His hair was slicked back,"
6"He didn't offer a hand"
7"He simply watched her, his"
8"He stood as still as"
9"His slight limp was hidden"
10"She felt Silas’s gaze like"
11"She sat, keeping her spine"
12"He leaned in, the scent"
13"He twisted the silver ring"
14"He reached out, his hand"
15"He swirled the liquid, watching"
16"He took a long sip"
17"They were manicured now."
18"He looked like the kind"
19"He held a brown paper"
ratio0.343
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount92
totalSentences99
matches
0"The tumbler shattered against the"
1"She didn’t flinch."
2"Silas muttered, his hazel eyes"
3"Rory crouched, her fingers hovering"
4"The Raven’s Nest was breathing"
5"A pair of polished, black"
6"They were expensive, the kind"
7"The voice was a ghost,"
8"The small crescent-shaped scar on"
9"She didn't look up immediately."
10"She took a slow, deliberate"
11"Evan looked like a stranger"
12"The boy she’d fled in"
13"The man before her was"
14"His suit was a dark"
15"His hair was slicked back,"
16"He didn't offer a hand"
17"He simply watched her, his"
18"Evan gestured to the stool"
19"Rory glanced toward Silas."
ratio0.929
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences99
matches(empty)
ratio0
63.49% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences54
technicalSentenceCount6
matches
0"They were expensive, the kind of shoes that didn't belong in a bar where the light fixtures grew fur coats of dust."
1"The movement was instinctive, a muscle-memory response to a hand that used to move much faster."
2"He looked like the kind of man her father would have invited for Sunday roast, the kind of man who would discuss tort reform while kicking the dog under the tab…"
3"Silas reached over the bar, his hand covering her wrist, his thumb resting just above the crescent scar."
4"Across the street, a black town car that had been idling at the curb clicked its headlights on, the high beams cutting through the gloom like a pair of searchin…"
5"A heavy, steel-toed boot kicked through the glass, followed by the silhouette of a man who moved too fast for a consultant."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags20
uselessAdditionCount5
matches
0"Silas muttered, his hazel eyes scanning the floor for the largest fragments"
1"Silas said, his voice a low rumble of gravel"
2"Evan countered, not looking at Silas"
3"Rory said, her voice barely a whisper"
4"Rory said, her voice catching"
47.96% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags12
fancyCount5
fancyTags
0"Silas muttered (mutter)"
1"Rory snapped (snap)"
2"she whispered (whisper)"
3"Silas barked (bark)"
4"Silas yelled (yell)"
dialogueSentences49
tagDensity0.245
leniency0.49
rawRatio0.417
effectiveRatio0.204
76.4853%