Run: 2026-02-19-01KHTYG2J3HSKYVRXAQ1ZTC67N

Run Details

Duration:
9.5s
Cost:
$0.000852
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 ice in Silas Blackwood's tumbler clinked against the glass, a solitary sound in the low thrum of conversation at The Raven's Nest. He traced the rim with a calloused finger, eyes tracing the familiar patterns of swirling amber liquid. A slight adjustment of his weight, an almost imperceptible wince in his left knee, and he turned his attention back to the worn leather-bound ledger. It was a quiet Tuesday, the kind that settled into the bones of Soho like a fine London fog, damp and persistent. The green neon sign outside blinked its steady rhythm, a beacon for those seeking refuge, or perhaps, something more clandestine. “Evening, Si,” a voice, roughened by what sounded like a decade of shouting over crowded rooms, sliced through the ambient murmur. Silas felt a prickle of recognition at the back of his neck, a sensation he hadn't experienced in years. He looked up. Standing a polite distance from the bar, silhouetted against the soft glow of a distant streetlamp filtering through the grubby window, was a man he hadn't seen since their university days. His once sharp edges had been rounded by time, his frame a little slacker, but the eyes, though shadowed by a perpetual weariness, held a flicker of something Silas remembered vividly. “Brendan,” Silas acknowledged, his voice a low rumble. He gestured with his chin towards an empty stool at the bar. “Long time no see.” Brendan Carter, his old friend from Cardiff, a man who’d seemed destined for the hallowed halls of the Old Bailey, shuffled forward. The faint scent of stale cigarettes and something sharp, like cheap whisky, preceded him. He settled onto the stool with a sigh that seemed to carry the weight of more than just years. “Years, Si. Decades, feels like,” Brendan admitted, running a hand through thinning, lank hair. He was wearing a tweed jacket that looked perpetually rumpled, a stark contrast to the immaculately tailored suits Silas remembered him favouring. “You look… different,” Silas observed, his gaze sweeping over the man. No sign of the promising young barrister, the quick wit and sharp legal mind that had once dazzled their lecturers. This man looked hardened, worn thin by a life lived on the fringes. Brendan chuckled, a rough, dry sound. “Life. It does that, doesn’t it? And London. London grinds you down if you let it.” He waved a hand at the bartender, a young man with an impossibly slicked-back quiff. “Whisky. The cheapest you’ve got.” The quiffed bartender nodded and moved with practiced efficiency. Silas watched Brendan’s hand as it reached for the coaster. Calloused fingers, nails bitten short, a far cry from the immaculate ones that had once gestured emphatically during heated debates about jurisprudence. And on one of those fingers, a wedding ring that looked surprisingly new, gleaming dully in the dim light. “What brings you to this neck of the woods, Brendan?” Silas asked, keeping his tone neutral. The Raven’s Nest was not a place one stumbled into. It had a reputation, whispered in certain circles, that drew a particular kind of clientele. Brendan took a long swig of the whisky the bartender placed before him. He winced as it burned its way down. “Running. Or maybe just looking. Can’t quite decide which.” He shrugged, the movement jerky. “Heard you ended up in London. Still at it, I suppose? The… old profession?” Silas allowed a small, tight smile to play on his lips. “Something like that. This place… it serves its purpose. Keeps me out of trouble. Mostly.” He picked up his own tumbler. “And you? I heard you were making waves back in Cardiff. The courts beckoning.” Brendan’s gaze flickered away, settling on the collection of antique maps adorning the wall behind Silas’s shoulder. A muscle in his jaw twitched. “Circumstances change, Si. Sometimes you find yourself on a different path than the one you’d planned. Less… paved, shall we say.” “Circumstances,” Silas echoed softly. He remembered Brendan’s father, a formidable man who’d spared no expense in securing his son’s future. The ambition that had burned so brightly in young Brendan’s eyes then. What had extinguished it? “This ex of yours,” Silas ventured, recalling fragmented conversations from years past, snippets of regret and pain that Brendan had tried to bury under a veneer of bravado. “Evan, wasn’t it? He was… unpleasant.” Brendan visibly flinched at the name. The rough chuckle returned, laced with a bitterness that hadn’t been there before. “Unpleasant is putting it mildly. He was a leech. Drained everything he could, then spat the husk out. And you know, for a while, I thought he’d gotten the last laugh.” He gestured vaguely at his current state, the cheap suit, the frayed nerves. “Thought he’d broken me good. But London. London fixes you. Or breaks you completely. One of the two.” A slow ache began to spread in Silas’s chest, a familiar echo of past pains. He’d seen this before. Men who had been on the precipice of greatness, consumed by a darkness they couldn’t escape. The legal world, from what he gathered, could be as unforgiving as any battlefield. “You were always the brightest of us, Brendan,” Silas said, his voice tinged with a genuine regret. “The one with the fire in his belly. The one who was going to make a difference.” Brendan snorted, a harsh, disbelieving sound. He drained the last of his whisky, pushing the empty glass forward with a decisive thud. “Fire burns out, Si. Or else it turns to ash. I learned that the hard way. Evan wasn’t the end of it. There were… others. Bad choices. Worse company.” He leaned forward, his breath heavy with spirits and something else, something akin to desperation. “You still know people, Si? People who can make problems… disappear?” Silas met his friend’s gaze, his own eyes unreadable. The question hung in the air, heavy and loaded. He saw not just the lost barrister, but the ghost of the young man they’d both once been, a ghost wrestling with a present that had become a tangled knot of regret and unanswered questions. “It depends on the problem, Brendan,” Silas said, his voice low and steady. He reached for the ledger, his signet ring glinting. “And the price.” Brendan’s eyes, once so full of youthful ambition, now held a desperate calculation. A flicker of that old fire, perhaps, but twisted, malevolent. He looked around the dim interior of The Raven’s Nest, at the shadowed corners, the quiet patrons nursing their drinks. He saw not a refuge, but a marketplace. “I need something… permanent,” Brendan rasped, his voice dropping to a near whisper. He met Silas's gaze, and for a fleeting moment, Silas saw the raw fear beneath the bravado. “Someone who’s going to stop talking. Forever.” A crash of shattering glass echoed from the back of the bar, followed by a string of angry shouts. Silas barely registered it. His focus was entirely on Brendan, on the man his friend had become. The old legal debates, the late-night philosophical arguments, the shared dreams of a brighter future, all seemed like faded photographs from another life. Brendan’s hand trembled as he reached for his empty glass again. “You can do that, can’t you, Si? You always had a knack for finding solutions.” Silas watched the raw hunger in Brendan’s eyes, a hunger born of desperation and a life that had veered wildly off course. He knew, with a certainty that chilled him, that this was not a request born of simple trouble. This was a man standing on the precipice, ready to leap. “Some problems,” Silas said, his voice grave, “carry a weight that can crush even the strongest man. Are you sure, Brendan, that you’re ready to bear that weight?” Brendan met his gaze, his eyes hard as flint. “I’m beyond ready, Si. I’m past caring.” He then pushed his empty glass towards Silas, a silent, urgent demand. “So, what’s it going to be?” Suddenly, the back door of the bar burst open, spilling harsh light and a flurry of urgent voices into the dim interior. Two figures, silhouetted against the sudden glare, stumbled in, one of them dragging a struggling, wailing youth who looked no older than twenty. The bar chatter cut off abruptly, replaced by a stunned silence. Brendan jolted, his hand instinctively going to the inside of his jacket. Silas felt his own muscles tighten, his senses sharpening instantly. The quiet Tuesday night had just taken a violent, unexpected turn.
created_at"2026-02-19T12:37:47.212Z" 2/19/2026, 12:37:47 PM
model"google/gemini-2.5-flash-lite"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency302
moderation_latency(null)
generation_time9460
tokens_prompt4618
tokens_completion2217
native_tokens_prompt4497
native_tokens_completion1925
native_tokens_completion_images0
native_tokens_reasoning0
native_tokens_cached4085
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"
usage0.00085205
router(null)
provider_responses
0
endpoint_id"ce839073-aa24-4f29-8358-15b319bd05ec"
is_byokfalse
latency302
model_permaslug"google/gemini-2.5-flash-lite"
provider_name"Google AI Studio"
status200
api_type"completions"
id"gen-1771504667-WeyZgrOTjQvbNL1QlBWx"
upstream_id(null)
total_cost0.00085205
cache_discount0.00036765
upstream_inference_cost0
provider_name"Google AI Studio"

Evaluation details

Result Evaluator Details Meta Data
75.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags16
adverbTagCount2
adverbTags
0"Silas echoed softly [softly]"
1"He gestured vaguely [vaguely]"
dialogueSentences30
tagDensity0.533
leniency1
rawRatio0.125
effectiveRatio0.125
89.44% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1420
totalAiIsmAdverbs3
found
0
adverb"softly"
count1
1
adverb"completely"
count1
2
adverb"suddenly"
count1
highlights
0"softly"
1"completely"
2"suddenly"
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)
0.00% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1420
totalAiIsms30
found
0
word"solitary"
count1
1
word"traced"
count1
2
word"tracing"
count1
3
word"familiar"
count2
4
word"weight"
count4
5
word"beacon"
count1
6
word"clandestine"
count1
7
word"flicker"
count2
8
word"stark"
count1
9
word"calloused fingers"
count1
10
word"gleaming"
count1
11
word"flickered"
count1
12
word"echoed"
count2
13
word"fragmented"
count1
14
word"echo"
count1
15
word"tinged"
count1
16
word"unreadable"
count1
17
word"glinting"
count1
18
word"whisper"
count1
19
word"fleeting"
count1
20
word"trembled"
count1
21
word"chilled"
count1
22
word"grave"
count1
23
word"silence"
count1
highlights
0"solitary"
1"traced"
2"tracing"
3"familiar"
4"weight"
5"beacon"
6"clandestine"
7"flicker"
8"stark"
9"calloused fingers"
10"gleaming"
11"flickered"
12"echoed"
13"fragmented"
14"echo"
15"tinged"
16"unreadable"
17"glinting"
18"whisper"
19"fleeting"
20"trembled"
21"chilled"
22"grave"
23"silence"
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
emotionTells1
narrationSentences80
matches
0"felt a prickle"
89.29% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount3
narrationSentences80
filterMatches(empty)
hedgeMatches
0"seemed to"
1"tried to"
2"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences93
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen44
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1417
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions8
unquotedAttributions0
matches(empty)
45.64% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions57
wordCount1102
uniqueNames13
maxNameDensity2.09
worstName"Silas"
maxWindowNameDensity3
worstWindowName"Silas"
discoveredNames
Silas23
Blackwood1
Raven3
Nest3
Tuesday2
Soho1
London1
Carter1
Cardiff1
Old1
Bailey1
Brendan18
Suddenly1
persons
0"Silas"
1"Blackwood"
2"Raven"
3"Carter"
4"Old"
5"Bailey"
6"Brendan"
places
0"Soho"
1"London"
2"Cardiff"
globalScore0.456
windowScore0.667
0.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences73
glossingSentenceCount5
matches
0"sounded like a decade of shouting over cro"
1"seemed destined for the hallowed halls of the Old Bailey, shuffled forward"
2"sigh that seemed to carry the weight of more than just years"
3"Brendan visibly flinched at the nam"
4"something akin to desperation"
58.86% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.411
wordCount1417
matches
0"not just the lost barrister, but the ghost of the young man they’d both once been, a ghost wr"
1"not a refuge, but a marketplace"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences93
matches(empty)
78.84% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs29
mean48.86
std20.81
cv0.426
sampleLengths
0107
121
284
324
455
536
644
742
860
941
1049
1146
1244
1336
1434
1581
1649
1734
1877
1953
2025
2151
2237
2359
2426
2551
2628
2734
2889
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences80
matches
0"been rounded"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs168
matches
0"was wearing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences93
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1105
adjectiveStacks1
stackExamples
0"worn leather-bound ledger."
adverbCount42
adverbRatio0.03800904977375565
lyAdverbCount18
lyAdverbRatio0.016289592760180997
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences93
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences93
mean15.24
std8.18
cv0.537
sampleLengths
023
117
225
322
420
521
619
73
831
931
108
1112
124
1322
1414
1519
1614
1722
1811
1920
2013
216
2231
235
249
2510
2622
2719
2816
2910
3015
3113
328
3314
3414
3511
3621
3714
3817
396
4021
414
4216
4312
444
4528
466
476
4813
4944
58.78% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats2
diversityRatio0.3655913978494624
totalSentences93
uniqueOpeners34
41.67% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences80
matches
0"Suddenly, the back door of"
ratio0.013
95.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount25
totalSentences80
matches
0"He traced the rim with"
1"It was a quiet Tuesday,"
2"He looked up."
3"His once sharp edges had"
4"He gestured with his chin"
5"He settled onto the stool"
6"He was wearing a tweed"
7"He waved a hand at"
8"It had a reputation, whispered"
9"He winced as it burned"
10"He shrugged, the movement jerky"
11"He picked up his own"
12"He remembered Brendan’s father, a"
13"He gestured vaguely at his"
14"He’d seen this before."
15"He drained the last of"
16"He leaned forward, his breath"
17"He saw not just the"
18"He reached for the ledger,"
19"He looked around the dim"
ratio0.313
3.75% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount73
totalSentences80
matches
0"The ice in Silas Blackwood's"
1"He traced the rim with"
2"A slight adjustment of his"
3"It was a quiet Tuesday,"
4"The green neon sign outside"
5"a voice, roughened by what"
6"Silas felt a prickle of"
7"He looked up."
8"His once sharp edges had"
9"Silas acknowledged, his voice a"
10"He gestured with his chin"
11"Brendan Carter, his old friend"
12"The faint scent of stale"
13"He settled onto the stool"
14"Brendan admitted, running a hand"
15"He was wearing a tweed"
16"Silas observed, his gaze sweeping"
17"This man looked hardened, worn"
18"Brendan chuckled, a rough, dry"
19"He waved a hand at"
ratio0.913
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences80
matches(empty)
ratio0
8.93% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences48
technicalSentenceCount9
matches
0"It was a quiet Tuesday, the kind that settled into the bones of Soho like a fine London fog, damp and persistent."
1"Brendan Carter, his old friend from Cardiff, a man who’d seemed destined for the hallowed halls of the Old Bailey, shuffled forward."
2"He was wearing a tweed jacket that looked perpetually rumpled, a stark contrast to the immaculately tailored suits Silas remembered him favouring."
3"No sign of the promising young barrister, the quick wit and sharp legal mind that had once dazzled their lecturers."
4"Calloused fingers, nails bitten short, a far cry from the immaculate ones that had once gestured emphatically during heated debates about jurisprudence."
5"It had a reputation, whispered in certain circles, that drew a particular kind of clientele."
6"He remembered Brendan’s father, a formidable man who’d spared no expense in securing his son’s future."
7"He saw not just the lost barrister, but the ghost of the young man they’d both once been, a ghost wrestling with a present that had become a tangled knot of reg…"
8"Two figures, silhouetted against the sudden glare, stumbled in, one of them dragging a struggling, wailing youth who looked no older than twenty."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags16
uselessAdditionCount4
matches
0"Silas acknowledged, his voice a low rumble"
1"Silas observed, his gaze sweeping over the man"
2"Silas said, his voice low and steady"
3"Brendan rasped, his voice dropping to a near whisper"
50.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags7
fancyCount3
fancyTags
0"Silas acknowledged (acknowledge)"
1"Brendan admitted (admit)"
2"Silas observed (observe)"
dialogueSentences30
tagDensity0.233
leniency0.467
rawRatio0.429
effectiveRatio0.2
69.6397%